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A PRACTICAL 



MANUAL OE ELOCUTION: 



EMBRACING 



VOICE AND GESTURE. 



DESIGNED FOR 



Spools, 2Uabemtes anfr (HolUge0 > 



AS WELL iS FOB 



PRIVATE LEARNERS. 



BY MERRITT CALDWELL, A. M., 

PROFESSOR OF METAPHYSICS AND POLITICAL ECONOMY AND TEACHER OF 
ELOCUTION IN DICKINSON COLLEGE. 



Vr 



PHILADELPHIA: 

PUBLISHED BY SORIN & BALL. 

NEW YORK :— HUNTINGTON & SAVAGE. 

BOSTON:-GOULD, KENDALL & LINCOLN. 

AND FOR SALE BY THE PRINCIPAL BOOKSELLERS THROUGHOUT THE UNITED STATES. 

1845. 



TH+ 1 " 
' fit* 



Entered according to Act of Congress, in the year 1844, by 

MERRITT CALDWELL, 

in the Clerk's Office of the District Court of the Eastern District of Pennsylvania. 



4*^3 I 



STEREOTYPED BY L. JOHNSON 
PRINTED BY T. K. <fc P. G. COLLINS, PHILADELPHIA. 



To Those, who during the last sixteen years have, from time to 

time, been under my tuition, — many of whom are now occupying 

posts of honor and usefulness, in the Church, in the State, and 

in the various departments of Instruction, — this Manual is most 

respectfully dedicated, by 

THE AUTHOR. 



PREFACE. 



The preparation of this Manual would not have been 
undertaken, but for the obvious want, at the present time, of 
a suitable text-book in Elocution, for the use of classes in our 
colleges, academies, and schools. And if undertaken, the 
effort would have proved comparatively futile, but for the 
existence of such works as " The Philosophy of the human 
Voice" by James Rush, M. D., of Philadelphia, from the 
valuable materials of which I have been permitted to draw 
at pleasure, — and the " Chironomia" of Austin, which 
for nearly forty years has been the common source from 
which have been derived the principles of Gesture. I take 
pleasure in acknowledging my obligations to these emi- 
nently philosophical works ; and this acknowledgment I 
wish to make in this preface in terms so general, as not 
again to need to recur to the subject. Having used these 
books for several years as works of almost daily reference, 
nothing but the most studied affectation could prevent me 
from employing the materials which they so richly furnish 
for the use of all future learners in the principles of the voice 
and of gesture. But aside from this general use of these 
works, I have referred directly to them, in the preparation 
of almost every chapter and section of this Manual; nor 
could I otherwise have done justice to the ordinary learner, 
since these books, both by their scarcity and their price, are 
placed beyond his reach. 

1* v 



vi PREFACE. 

The principles adopted as the basis of this Manual, and 
which are developed in its successive pages, it is believed, 
do not differ materially from those views of the subject 
which have already received the stamp of public approba- 
tion. But this concession is not intended to prejudice the 
claim of this book to all the originality, as regards either ar- 
rangement, method of illustration, or matter, which experi- 
ence in the business of teaching could be expected to sug- 
gest on such a subject. 

The work of Dr. Rush, just referred to, relates to a single 
branch only ; and neither this nor the Chironomia professes 
to be a practical manual. Several practical works, both on 
the Voice and on Gesture, are, however, before the public. 
From the merits of these I would not wish to detract one 
tittle. Had they fewer faults and greater excellences, the 
future authors of text-books in this interesting but neglected 
branch of science would find less formidable prejudices to 
contend with. I have, as I trust, too just a sense of the 
responsibility involved in the preparation of a Text-Book 
for Learners, to dare to assume it with any feeling of care- 
lessness or indifference. He who prepares a popular text- 
book becomes the benefactor or the curse of the age in 
which he lives ; and, in the last case, may be held answer- 
able even to posterity for the injury inflicted on the world. 
All these elementary works, also, which were within my 
reach, have therefore been consulted ; and from them some 
useful suggestions have been adopted. They possess very 
different degrees of excellence ; but it is sufficient to au- 
thorize another attempt at setting forth this difficult subject, 
that no one of them presumes to bring in a claim to perfec- 
tion. Neither does the present work; though it has at least 
one advantage over others— that of presenting both branches 
of the subject in the same volume, which must prove a great 
convenience to the teacher, as well as to the learner. 



PREFACE. vn 

Though some new technical terms will present them- 
selves to the student of this Manual, as few such have been 
used as the objects and nature of the work would possibly 
allow ; and from among those employed by different writers, 
such have been selected as were judged best fitted to ex- 
press the ideas embraced in them. So far as the nomencla- 
ture of this science is concerned, the authors before named 
have left little for future writers to supply ; and to their 
works the faithful teacher will not fail to make frequent 
reference, till he shall have fully imbibed their spirit.* 

I am aware of the difficulty of setting forth with perfect 
clearness a subject which is new ; and such will this be to 
many into whose hands this book will fall. Yet I flatter 
myself that I have succeeded in rendering the entire sub- 
ject so simple that any person of ordinary resolution and 
perseverance can master it, even without an instructor. This 
object I have had constantly in view, with the hope that 
many a young man, already engaged in the duties of the 
holy ministry, may be induced to subject himself to a course 
of private training, which may both prolong his life, and 
make every portion of it more useful. Still, a few lessons 
from a good teacher, when access can be had to one, will 
greatly facilitate the progress of the learner. 

* In describing the vocal phenomena, I have but rarely found occasion 
to deviate from the technical forms of expression used by Dr. Rush ; and 
still less frequently to dissent from the principles established in his mas- 
terly work on the Human Voice. In setting forth the elementary sounds 
of the English language, however, I have chosen to retain the old distinc- 
tion into vowels and consonants, as well adapted to a popular text-book ; 
and have used the term tonic, to designate a portion'of the consonants, — 
a term which he applies only to the vowel elements. The term Slide also, 
is not employed by Dr. Rush, which proves that it is not indispensable 
even in a full discussion of the functions of the voice. It is used in this 
work merely as a matter of convenience, being both a short and expres- 
sive designation of one of the most important functions of the speaking 
voice. 



vm PREFACE. 

To the intelligent and observing, the remark will appear 
trite, that in our age, and particularly in our country, a good 
delivery is one of the most important acquisitions to the 
scholar. To the man who wishes to produce a strong im- 
pression on the present age, what other acquisition promises 
so much ? But the truth that a good delivery can be ac- 
quired by study and practice, is now almost as generally 
admitted by the intelligent as is the fact of its importance ; 
and this Manual is presented but as a more perfect develop- 
ment of the same system which has produced nearly all the 
accomplished orators of our day. This is but a system of 
principles, by which the learner is to be led into the very 
arcana of the orator's art, instead of acquiring by mere imi- 
tation the power of mimicking some of his tones and ges- 
tures. 

The section on Expression, it is believed, is a more full 
attempt to present the vocal " language of the passions," in 
intelligible terms, than has ever before been made. In this 
it is not proposed to furnish a substitute for real feeling. In 
oratory there can be no substitute for this. The object of 
this section is, First, to do for the learner what is done for 
the student in many other branches of science — to give him 
a theoretical knowledge of that, the practice of which nature 
may perhaps have taught him ; Secondly, to enable him, by 
the use of the appropriate symbols of feeling, to awaken 
within himself emotion, when perhaps it may not exist to 
the extent he desires, — for the natural language of any 
passion tends to excite that passion, as directly as the exist- 
ence of the passion prompts to its natural expression ; 
Thirdly, to assist him in overcoming bad habits, whether 
of extravagance or of feebleness, in the vocal expression of 
the passions ; and, Fourthly, to furnish what appears to me 
the best system of training for the voice that can be de- 
vised, — one that will best develop all its powers, at the 



PREFACE. ix 

same time that it makes the learner familiar with their prac- 
tical uses. 

The art of engraving was little understood by the an- 
cients. In modern works on elocution much advantage has 
been taken of the improvements in this art ; and in regard 
to gesture, abundant illustrations have been furnished, which 
addressing the eye, make a stronger as well as a more de- 
finite impression on the mind than could well be made by 
words. The Chironomia, in particular, contains a very full 
set of excellent illustrations of the principles of gesture, 
which most of the later writers on elocution have very judi- 
ciously used, instead of attempting to furnish new and infe- 
rior drawings. From these I have selected such as would 
fully answer my purpose ; but have added whatever I 
judged necessary to a complete set of illustrations for my 
work.* 

While examples have been selected for illustrating all the 
principles of vocal modulation and expression, the book has 
not been encumbered with extracts from other authors merely 
for practice. This part of the business has been well done 
by others ; and there are books enough before the public 
containing selections, both for reading and speaking. Per- 
haps a book of selections might be made better suited to 
improve the higher powers of elocution than any we now 
have ; it was not, however, any part of the object of this 
Manual to supply such defect. Without any such matter, 
the pages of my book have multiplied beyond what was 
contemplated when it was undertaken, — and that, though 
brevity has been most assiduously studied. 

If the objects proposed in this Manual have been accom- 

* The Diagrams and Figures which illustrate the subject of this Ma- 
nual have been engraved by J. Spittall, of Philadelphia. Most of them 
have also been drawn by him ; though several of the Figures have been 
drawn by C. Burton, of Carlisle, Pa. 



X PREFACE. 

plished, the work now submitted to the public maybe studied 
with advantage by every class of public speakers ; and the 
practice it suggests is especially adapted to train the future 
speaker for his responsible work. But many of the princi- 
ples of reading and speaking are the same ; so that he, also, 
who would become a good reader must study some such 
work as this, to render him familiar with these principles. 
Aside, however, from all these considerations, there are 
reasons why elocution should be studied. The natural 
sciences are taught in all our schools, that those who study 
them may be able to classify and give names to the various 
objects of nature. Even the young lady studies Botany and 
the Geography of the heavens, that she may be able to name 
the plants and the stars. And is it a matter of no interest 
to her to be able to speak intelligibly of the excellences and 
defects of those whom from time to time she hears speak ? — 
to give names to the qualities of the voice and of the action 
which they employ? It is not, perhaps, too much to say, 
that the time will come, when the power to criticise a speech 
shall be considered as essential to the scholar as is now the 
ability to criticise a written composition, — when Elocution 
and Rhetoric shall be studied as constituting sister depart- 
ments, even in a common English education. Then would 
every professed speaker cultivate his natural powers, so that 
a failure in the management of his voice or in gesture 
would be as rare as such a failure now is among professed 
singers or performers on musical instruments. On the same 
principle that men can learn to sing, or to handle the bow, 
or touch the keys of an instrument for the production of 
harmonious sounds, they can learn to manage the voice in 
speaking, or the arms and hands in gesture. 

Dickinson College, November, 1844. 



CONTENTS. 



Page 

Dedication iii 

Preface V 

Introduction. — Importance of the study of Elocution. — How it 
must be prosecuted. — Encouragement to the learner. — Plan of 
the work 15 

PART FIRST. 

OF THE VOICE. 

Chapter I. — Elementary Exercises of the Voice. 

Sect. I. Of the Elementary Sounds of the English Language 31 

Table I. Vowels 33 

Table II. Consonants 34 

Sect. II. Of Articulation 38 

Table III. Combinations of Consonant Sounds. 40 

Sect. III. Of the Time of the Voice 48 

Sect. IV. Of Stress 50 

Radical Stress 51 

Table IV. Combinations of the Tonic Conso- 
nants with the Long Vowels 52 

Table V. Combinations of the Atonies with 

the Long Vowels 52 

Table VI. Combinations of the Long Vowels 

with the Tonic Consonants 53 

Table VII. Combinations of the Long Vowels 

with the Atonies 54 

Table VIII. Combinations of the Short Vow- 
els with the Tonic Consonants 54 

Median Stress 55 

Vanishing Stress .- 56 

xi 



xii CONTENTS. 

Page 

Sect. V. Of the Pitch of the Voice 57 

The Diatonic Slides 68 

Emphatic Slides 66 

Interrogative Intonation 67 

Sect. VI. Of the Waves of the Voice 71 

Sect. VII. Of Force of Voice 75 

Sect. VIII. Of the Quality of the Voice 81 

The Orotund 82 

The Tremor 83 

The Aspiration 83 

The Guttural 84 

Sect.IX. Of the Melodies of the Voice 85 

Sect. X. Recapitulation 90 

Chapter II. — Practical Application of Principles. 

Sect. I. Preliminary remarks 97 

Sect. II. Of Accent 98 

Sect. III. Of Emphasis 100 

Temporal Emphasis 102 

Emphasis of Stress 103 

Emphasis of Pitch 105 

Emphasis of the Wave 109 

Emphasis of Force 113 

Emphasis of Quality 113 

Relative Emphasis 117 

Sect. IV. Of the Drifts of the Voice 122 

Sect. V. Of Expression 126 

Narrative, Description 128 

Dignity, Solemnity, Gravity, &c 128 

Gayety, &c 133 

Positiveness, Confidence, Authority, &c 138 

Energy 144 

Rage, Anger, Wrath 146 

Malice, Hate, Revenge, &c 149 

111 Humor.— Dissatisfaction, Peevishness, &c. . 153 

Scorn, Sneer, Contempt, &c 153 

Mirth, Raillery 154 

Joy, Triumph, &c 155 



CONTENTS. xiii 

Page 

Sect. V. Astonishment, Admiration,- Amazement 156 

Plaintive Expression, Tenderness 157 

Pain— Mental and Bodily 162 

Secrecy, Apprehension, Fear, &c 163 

Terror, Horror 164 

Interrogation 164 

Irresolution, Modesty, &c 167 

Sect. VI. Of Transition 168 

Sect. VII. Of Cadence 184 

Chapter III. — General Precepts. 

Sect. I. Of the Measure of Speech 193 

Sect.II. Of Paiises 203 

Sect. III. Of the Heading of Poetry 207 

Sect. IV. Of the Grouping of Speech 212 

PART SECOND. 

OF GESTURE. 
Chapter I. — Elements of Gesture. 

Sect. I. Preliminary Remarks 221 

Sect.II. Of the Feet and Lower Limbs 226 

Sect. III. Of the Head and Trunk 233 

Sect. IV. Of the Eyes and Countenance 236 

Sect. V. Of the Hand 241 

Sect. VI. Of the Arm 246 

Chapter II. — Practical Application of Principles. 

Sect. I. Introductory Movements 258 

Sect. II. Of Motion and Rest 260 

Sect. III. Of the Movements of the Hands and Arms 262 

Sect. IV. Of the Qualities of Gesture 269 

Chapter ni. — General Precepts. 
Sect. I. Of the Frequency, Moderation, and Intermission 

of Gesture 273 

Sect. II. Of Gesture as Connected with the Different parts 

of a Discourse , 277 

2 



xiv CONTENTS. 

APPENDIX. 

Page 
Chapter IV. — Hints on the Elocution adapted to the 

Pulpit 281 

Chapter V. — Of the Action adapted to Dramatic 
Representation. 

Sect. I. Of the Elements of Dramatic Action 292 

Sect. II. Of Significant Gestures and Attitudes 305 

INDEX 317 



A 

PRACTICAL MANUAL 

OF 

ELOCUTION. 



INTRODUCTION. 

Importance of the study of Elocution. — How it must be prose- 
cuted. — Encouragement to the learner. — Plan of the work. 

Is a good Elocution of sufficient importance to deserve 
the attention of the American scholar ? and can the princi- 
ples of Elocution be so taught as to become practically 
useful to the speaker, or to him who is destined to become 
a speaker ? — These are important questions ; and while a 
doubt remains in regard to them, even the youthful learner 
must hesitate to enter on the subject with the zeal neces- 
sary to ensure success in this or any other branch of useful 
study. In regard to the first, I should be doing injustice 
to the intelligence of the reader, to attempt to discuss it. 
Who are the men that in our great republic are now 
attracting universal attention? Who are they, to hear 
whom our Senate Houses, our Halls of Justice, and out 
Churches, are thronged to overflowing ? Who are they, 
whom assembled multitudes, in our public halls, in the 

15 



16 INTRODUCTION. 

crowded squares and streets of our cities clamor for, and 
whose voices they will hear ? They are not always the 
most learned men among us, nor are they always the most 
profound thinkers. Generally speaking, they are men of 
good sound common sense, who have a good Elocution. 
Eighteen hundred years ago, Quintilian said, " That even 
an indifferent discourse, assisted by a lively and graceful 
action [comprehending both voice and gesture] will have 
greater efficacy than the finest harangue which wants that 
advantage." So it has ever been ; so it will ever be. 

But of what interest is all this to the American scholar — 
to the reader of these pages ? The same that he has in any 
question that concerns his future usefulness, or his future 
fame. Ours is a land of civil liberty, where force is never per- 
mitted to take the place of persuasion, where tyranny wrests 
not from man his native freedom of thought and speech, 
and where corruption and venality can never long hold the 
control of public affairs. Our institutions then are such as 
have ever fostered eloquence. We have a language, too, 
superior in several important respects to any modern tongue, 
and deficient perhaps in no single requisite to a strong and 
effective eloquence. The demand of the public also for a 
more spirit-stirring oratory is most obviously increasing. 
The evidence of this is found in the public favor, just re- 
ferred to, which is bestowed on those who have culti- 
vated a good elocution. If we look out upon the stage of 
political life, what attracts our eyes more strongly than the 
conspicuous positions assigned to those who have the action, 
the utterance, and the power of speech to stir men's blood ? 
We see the same, if we look at the great moral movements 
of the day. Whenever the eyes of the public centre on any 
human agent, as destined under Providence to effect any 



INTRODUCTION. 17 

great moral reform, who is he but some one who can wield 
the omnipotent power of oral eloquence ? This demand ex- 
tends even to the sacred desk ; and men begin to be restless 
when the pulpit is dull and prosing. Whenever they else- 
where see exhibited the attractions of an effective elocution, 
their minds revert to that day, when the simple preaching 
of righteousness, temperance and judgment could make 
even a Felix tremble, and they pray for its return. 
' Nor is this a mere capricious movement of the times. 
Intelligent men have begun to reason on the subject. They 
have satisfied themselves, that we possess all the essential 
elements of oratory which have ever been possessed by 
any people ; and that the occasions for their development 
are not wanting. They see the freedom of debate allowed 
in our legislative halls ; the constantly recurring opportu- 
nities for the statesman-orator to make his appeals directly 
to the popular assembly ; the moral enterprises also, that 
are to be carried by direct appeals to the popular ear ; the 
vast interests involved in questions which are discussed in 
our ecclesiastical assemblies, and which may well call forth 
the orator's best powers ; and last, not least, they see the 
pulpit, where from week to week thousands stand to ad- 
dress their fellows, freely and unconstrained, on the sacred 
truths of a sublime religion, to impress on them the claims 
of a system of morality singularly pure and attractive, and 
to discuss topics of the most elevating and interesting 
nature. They see, too, that men can feel as well as reason, 
and that they love the feelings which eloquence inspires ; — 
that whenever a good elocution exhibits itself in the speaker, 
the legitimate effects follow as certainly as when Demos- 
thenes or Henry spoke in the senate house, or at the bar, 
and as certainly as when Whitefield electrified the multi- 



18 INTRODUCTION. 

tudes who everywhere thronged — not more to hear the 
tones of his voice, and to see his action, than to feel the 
overwhelming power of his eloquence. A demand based 
on the clear perception of such truths shall not decline ; 
and green and unfading are the laurels already entwined 
for the brows of those who — now rising into life — shall 
prepare themselves to bear off the honors in such a contest 
for usefulness and honorable distinction. 

Eloquence, or even oratory, does not however consist 
wholly in a good elocution. Elocution concerns only the 
external part of oratory, and may be considered both as a 
science and as an art. As a science, it teaches the prin- 
ciples from which are deduced rules for the effective deli- 
very of what is eloquent in thought and language ; as an art, 
it is the actual embodying in delivery of every accom- 
plishment, whether of voice or of gesture, by which ora- 
torical excitement is superadded to the eloquence of thought 
and language. In this last sense, it implies the culti- 
vation of every external grace with which the delivery of 
language should be accompanied, whether in reading, in 
recitation, or in spontaneous utterance. As a science, then, 
it relates to the knowledge and the taste necessary to direct 
in the correct delivery of what is forcible in thought and 
expression ; and as an art, to the ability practically to exe- 
cute that which is dictated by a well-instructed taste. This 
presents the general subject in a twofold light ; and clearly 
points out the double office of a teacher of elocution, and 
the twofold excellencies of a perfect Text-Book in this 
interesting branch of study. It should give the taste to 
direct, and the power to execute. 

These are perfectly distinct, though closely allied. Many 
speakers fail, not so much from not knowing how a passage 






INTRODUCTION. 19 

or discourse ought to be pronounced, as for want of the 
ability to execute what their cultivated taste has learned 
to admire ; while others, it is admitted, have no love 
for what is excellent, whether in the intonations of the 
voice, or in the action which accompanies them. The 
latter blunder heedlessly along, and, without perceiving 
it, are guilty of a thousand errors, which of course they 
never attempt to correct ; while the former too often per- 
ceive their errors and defects but to lament them, often 
fail in their attempts at improvement, and at other times, 
for fear of a failure, neglect to attempt what, had they 
dared to risk the experiment, they might successfully 
have performed. — It is the object of this Manual, to culti- 
vate the taste ; and to give to all who will consent to make 
it a study the ability to perform whatever a good taste can 
direct. 

It is generally admitted, that few persons can safely rely, 
for the effect of their discourses, solely on a favorable 
combination of circumstances, or on their weight of cha- 
racter, or even on mere force of thought or eloquence of 
language. The u ornaments of eloquence" must be super- 
added. These consist in the various melodies of the voice 
and in suitable gesture of the body. " He who arms him- 
self with these," says one of the ancient Rhetoricians, 
" assaults his hearers in three ways. He invades their un- 
derstanding by his eloquence, he subdues their ears by the 
charms of his voice, and their eyes by the attractions of 
his gesture." — Whether ease and grace of gesture can be 
acquired, cannot admit of one rational doubt. In general, 
the gestures are performed by the action of the voluntary 
muscles ; and thus gesture is as much an art, considered 
with reference to the mode in which it is to be performed, 



20 INTRODUCTION. 

as is penmanship, dancing, or any handicraft employ- 
ment. 

But can instruction improve the voice also ? To this 
interrogatory it might seem sufficient to reply, that the at- 
tractions of the stage in all ages have depended very ma- 
terially on the power of vocal execution possessed by the 
actors — a power not unfrequently wholly acquired, and ac- 
quired too, in the only schools where, in modern times, the 
art of speaking has been cultivated. Besides this, the two 
great orators of antiquity studied this branch of elocu- 
tion in particular as an art. Demosthenes, whose voice 
was weak, whose articulation was defective, and whose 
tongue stammered, after an unsuccessful effort in which 
he was hissed from the assembly, was persuaded by a 
player whom he met, to undertake the study of elocution ; 
and by a course of training such as few have ever sub- 
jected themselves to, he demonstrated that the practical 
application of the principles of this art can be learned. 
Even his great adversary and rival in oratory, after reciting 
before the Rhodians, at their request, the oration of Demos- 
thenes for Ctesiphon, replied to their expressions of admi- 
ration, " What would you have said if you had heard him 
deliver it!" With Cicero, too, it was much the same. At 
the age of twenty-seven, according to Plutarch, after having 
arrived at some eminence as a pleader, " though his voice 
had a variety of inflections, it was at the same time harsh 
and unformed ; and as in the vehemence and enthusiasm 
of speaking, he always rose into a loud key, there was rea- 
son to apprehend that it might injure his health." He 
consequently applied himself to teachers. At a subsequent 
period, this writer tells us, " his voice was formed ; and at 
the same time that it was full and sonorous, had gained a 



INTRODUCTION. 21 

sufficient sweetness, and was brought to a key which his 
constitution could bear." But — to show how elocution 
was' studied in ancient times — he stopped not here, but 
visited Asia and Rhodes, to listen to the greatest orators, 
and to receive instruction from the best teachers. And it 
was at the latter place, when declaiming in Greek before 
Apollonius, that the rhetorician, with sadness of heart at 
the recollection of the wasted glory of his native land, the 
country of Demosthenes, said, " As for you, Cicero, I 
praise and admire you, but I am concerned for the fate of 
Greece. She had nothing left her but the glory of elo- 
quence and erudition, and you are carrying that too to 
Rome." The ancient orators and rhetoricians all treated 
of the voice as among the first objects of culture ; and 
wherever great excellence was attained in its management, 
it was duly appreciated. 

This science has also been studied by many of England's 
most eminent orators. Mr. Pitt learned elocution under the 
tuition of his noble and eloquent father ; and it was of one 
of his speeches that even Fox could say, " The orators of 
antiquity would have admired, probably would have envied 
it;" and after listening to another, Mr. Windham says of 
himself, that u he walked home lost in amazement at the 
compass, till then unknown to him, of human eloquence." 
The case of Sheridan is still more striking. To adopt 
the language of Lord Brougham,— " With a position by 
birth and profession little suited to command the respect 
of the most aristocratic country in Europe — the son of an 
actor, the manager himself of a theatre — he came into that 
parliament which was enlightened by the vast and various 
knowledge, as well as fortified and adorned by the most 
choice literary fame of a Burke, and which owned the 



22 INTRODUCTION. 

sway of consummate orators like Fox and Pitt." But he 
had studied the elocution of the stage — his father had been 
his teacher ; and although he never acquired any great 
eminence as a statesman, yet Pitt himself at one time 
writhed under his eloquence. It was at the close of one 
of his celebrated speeches before the House of Com- 
mons, that the practice of cheering the speaker was first 
introduced ; and it was on this occasion that Mr. Pitt, 
then prime minister of England, besought the House, as 
being incapacitated for forming a just judgment under the 
influence of such powerful eloquence, to adjourn the deci- 
sion of the question. Several of our distinguished Ameri- 
can orators, also, it is asserted, are ever ready to acknow- 
ledge their obligation to the study of the principles of 
that art which is procuring for them so rich a reward of 
fame. And some of those who have been most admired, 
are far from being those for whom nature had done the 
most. 

The following system of instruction, both as regards 
voice and gesture, consists of principles rather than of spe- 
cific rules ; and of principles believed to be drawn from 
nature, and which, when applied even fully to practice, 
will leave the learner sufficiently in possession of all his 
natural peculiarities. Their entire object is to refine and 
perfect nature ; not to pervert it. The greatest orators, 
even the most popular players, are those who have made 
art subservient to the development of their own native 
powers ; and who at least seem to have been formed on no 
model. Here, as elsewhere, art is supposed to be but the 
handmaid of nature. 

It is believed that the careful study, on the part of the 
learner, of the principles here presented him, even though 



INTRODUCTION. 23 

thus restricted, if accompanied with proper practice on the 
tables and exercises, will do for him all that study has ever 
done, or can do, to make the speaker. 

First 9 it will greatly assist to cultivate the taste, as re- 
gards all the excellences of a good delivery. 

Second, it will give him a distinct articulation ; and fur- 
nishes the means by which even the more permanent 
impediments in speech may be corrected. 

Third, it will give him a distinct enunciation, by which 
we mean nothing more than perfect distinctness of articula- 
tion carried into the general delivery. 

Fourth, it will give him the command of the various 
elements both of voice and gesture, which give effect to 
the expression of thought and feeling, and which, when 
properly employed, constitute the external graces of elo- 
quence. 

Fifth, it will teach him the principles on which these 
elements are to be employed the most successfully for the 
purposes just named. 

Sixth, it will give him such a familiarity with these ele- 
ments, and such a command of all his vocal powers, as 
will enable him practically to execute whatever he is dis- 
posed to attempt. And 

Seventh, it will do all this, by perfecting and improving 
his own natural powers, rather than by substituting, or at- 
tempting to substitute, others for them. 

The taste may indeed be improved in various ways, — 
by reading works and attending lectures on Elocution, as 
also by studying living models of excellence in oratory ; 
but the power of execution can be learned only by practice. 
If it can be acquired by other means, the author of this 
Manual has not discovered them. On practice, and on that 



24 INTRODUCTION. 

alone, we rely in the work before us. It was this alone 
that perfected the orators of antiquity. But for this, Demos- 
thenes and Cicero would not have been the master orators 
of Greece and Rome ; yet we hesitate not to say, that the 
text-books of Elocution to which the scholar of our day 
can have access furnish him facilities for successful practice 
which they never enjoyed, though they sought it long and 
even in foreign lands. Much of the discipline of the 
scholar must like theirs be preparatory and private, — must 
consist in the practice of attitude and action, in loud read- 
ing, and in declamation, continued till all the excellences of 
a good elocution become a part of his own nature. Nor 
will it in general be so long as might be supposed, before 
he begins to experience these results. Then will he, with- 
out the least embarrassment, as though they were the direct 
gifts of nature, carry them into the practice of oratory. So 
will he even who is already in public life — in the habit, it 
may be, of daily public speaking — by such private prac- 
tice find the graces of gesture imperceptibly incorporating 
themselves with his public action, and all the defects of his 
voice, whether natural or acquired, gradually supplanted by 
the opposite excellences. Thus may one learn to speak 
according to the strictest rules of art, and yet never be em- 
barrassed in any of his public performances by the thought 
of these rules. 

The practice recommended in the first part of this Man- 
ual has a further object than merely to give a command 
of the various intonations and inflections of the voice ; 
though this of itself would be sufficient to recommend it. 
If it went no further than this, it would break up the dull 
monotony of delivery, and demonstrate to the learner, that 
the speaker's want of power c to stir men's blood' is not to 



INTRODUCTION. 25 

be referred to any deficiency in the general provisions of 
nature. The practice recommended in our future pages 
will show that, without violating any law of the voice, an 
endless variety is presented in the expedients which nature 
has furnished to give power and efficiency to expression. — 
The further purpose however to be secured by this practice 
is that healthful discipline of the vocal organs, which it is 
believed will make them almost proof against the diseases 
by which so many speakers are now laid aside from their 
labors in the very prime of their lives and of their useful- 
ness. The young man who enters the ministry in parti- 
cular, without having his vocal organs inured to the labor 
involved in speaking, is always in danger of laying the 
foundation, even in his early efforts, of his future decline, 
and of his premature death. How many such cases can 
the reader call to mind ! 

In our definition of Elocution, we have made it relate to 
all the graces of delivery, whether in reading, in recitation, 
or in spontaneous utterance. This suggests what we deem 
an important view in connection with this subject, to wit, 
that the principles of reading and speaking are the same. 
He who knows how to read well can speak well, so far at 
least as concerns the management of the voice; and he 
who can speak well is left without excuse, if he does not 
read with correctness and rhetorical effect. The only dif- 
ference between reading and speaking, as regards the 
principles of this branch of elocution, is, that the latter 
presupposes more emotion, and consequently admits a more 
forcible application of its principles. 

But Elocution, in the comprehensive signification we 
have given to it, relates to gesture as well as to the voice. 
Both the voice and the action of the body have a strong 

3 



26 INTRODUCTION. 

sympathy with the emotions ; in so much, that the state of 
the mind can be confidently inferred from the muscular 
movements of the individual, as also from the pecu- 
liarities of his voice — its loudness or softness, together 
with its tones and inflections — though his words may 
not he heard. This suggests a strong correspondence 
between the voice and the action in delivery ; and yet 
they are so distinct, that it is presumed the learner will 
study them most successfully, if treated separately. Thus 
our treatise is divided into two Parts, to each of which is 
appropriated one entire subject. 

Something will be gained, if thus early the learner can 
be impressed with the full belief, that the principles of this 
work, both as regards the voice and gesture, are drawn 
from nature, and are thus no work of invention. This is 
the origin given of the principles of the orator's art by 
Quintilian, who says, " As in physic, men, by seeing that 
some things promote health and others destroy it, formed 
the art upon those observations ; in like manner by per- 
ceiving that some things in discourse are said to advantage, 
and others not, they accordingly marked those things, in 
order to imitate the one and avoid the other ;" and such 
emphatically is believed to be the origin of all the princi- 
ples embraced in the successive chapters of this Manual. 

These principles, to be fully appropriated by the learner, 
must, so far as they shall be new to him, be dwelt upon 
till they become perfectly familiar — as familiar as the rules 
of English- syntax to the English scholar, or the principles 
of logic to the reasoner. Where habits either of voice or 
of gesture are to be overcome, other habits must be sub- 
stituted. Nothing short of habits of correct speaking and 
of correct action can meet all the demands of the speaker, 



INTRODUCTION. 27 

as he stands up to deliver his sentiments before multitudes 
of assembled men. He has no time then to make the in- 
tonations of his voice or the movements of his body a 
study. To secure the formation of these habits, it is indis- 
pensable that the principles hereafter presented should be 
contemplated as strictly practical, and be carried from the 
exercises of the book into the daily practice of reading and 
speaking. The success of the ancient orators, as also of 
Pitt, of Sheridan, and many of the distinguished actors of 
modern times — proves, as we have seen, the practicability 
of thus learning the art of speaking * 

* In this introduction, I have made some use of a paper furnished 
by me for the Methodist Quarterly of July, 1841,— a review of "The 
Philosophy of the Human Voice," by James Rush, M. D. 



PART I. 
OF THE VOICE. 



CHAPTER I. 

ELEMENTARY EXERCISES OF THE VOICE. 



SECTION I. 

OF THE ELEMENTARY SOUNDS OF THE ENGLISH LANGUAGE. 

To one who had never thought on the subject, it might 
seem strange to commence a treatise on Elocution, by re- 
ferring to the elementary sounds of the language ; but a 
moment's reflection will show its propriety. It is of these 
elements that all speech is composed. These constitute the 
very basis of all good delivery, and consequently should be 
placed at the foundation of all instruction in this, elegant 
accomplishment. But where are these elementary sounds 
to be found ? He who would discover them must divest 
himself of the idea that they are faithfully represented by 
the symbols composing our graphic alphabet. Much less 
are they represented by the names of the alphabetic cha- 
racters, nearly all of which are complex sounds. It is, 
then, only by a careful analysis of our spoken language, 
that the elementary sounds entering into it can be disco- 
vered. 

Having made this analysis, we shall find that some of 
our alphabetic characters have no separate sound appropri- 
ated to them, as c and x ; while others represent several 
sounds. Thus a often represents four, and sometimes a 
fifth ; and the other vowels, each two or more.* There 

* Where the same character is used in the following tables to re- 
present different elementary sounds, we shall distinguish it, for the 
sake of future reference, by the marks which are used in Webster's 
Dictionary. 

31 



32 MANUAL OF ELOCUTION. 

are still other sounds which have no single character to re- 
present them, as ou, oo, oi and oq among the vowels, and 
ng } th, sh, &c, among the consonants; yet which are as 
elementary as the former. With each of these sounds we 
shall present a short word in which it occurs, by the pro- 
nunciation of which it is believed the learner will, without 
much difficulty, discover the true element intended. The 
way in which this is to be done, is to arrest the voice in the 
very act of uttering the element in question, and then to 
repeat that sound free from combination with any other. 
Thus the true sound of a will be caught, by arresting the 
voice on the word «-le, before the I is touched by the or- 
gans of speech ; and thus also of b or /, before entering on 
the vowel sound that follows them in the words b-ow and 
7-ove. And so of all the others. 

In arriving at these elementary sounds, the learner will 
derive much advantage from a living teacher ; but it is 
believed he will find no great difficulty in discovering 
the true sound of every element presented in the two fol- 
lowing tables. Should there at first appear something ludi- 
crous in the attempt, let him remember that it is only a 
matter of habit, and that a little familiarity will make these 
sounds as familiar as are the names now usually but erro- 
neously given to our alphabetic characters. And when 
these fundamental sounds are once fairly mastered, we shall 
hereafter see that they can be turned to great account. Of 
these sounds, as heard in the pronunciation of the English 
language, there are forty-two, — sixteen vowel and twenty- 
six consonant sounds. — If the following tables are not phi- 
losophically correct, it is believed they are practically so. 



VOWEL ELEMENTS. 33 

TABLE L* 

TOWELS. 

Long, 



1 


a 


as in 


a-le, th-e-re. 


2 


a 


a 


#-11, n-o-r. 


3 


a 


a 


fl-rm. 


4 


e 


a 


€6-1. 


5 


i 


a 


j-sle. 


6 


o 


u 


o-ld. 


7. 


u 


it 


r-M-de.| 


8 


on 


«( 


ow-r. 


9 


00 


t< 


oo-ze, m-o-ve. 


10 


01 


Short. 


02-1, b-o^. 


11 


a 


as in 


«-t. 


12 


e 


<i 


e-dge. 


13 


i 


4< 


e-t. 


14 


o 


«< 


1-o-t, wh-a-t. 


15 


u 


u 


w-p, d-o-ve. 


16 


00 


u 


b-oo-k, f-w-lh 



* Note to the Teacher. — On this and all the following Tables 
and other exercises for practice, the first business of the teacher is 
to exemplify and illustrate to the learner or to his class the prin- 
ciple, or principles involved ; and let the practice on these consti- 
tute the preparation for the next interview. Then let the learner, or, 
in case of a class, each pupil separately, repeat the proposed exer- 
cise, with such correction and further instruction as may be called 
for. For securing' a greater familiarity with the exercise, a class 
may then repeat it together, under the teacher's direction. Mutual 
correction is recommended in this and all the future exercises, when 
practiced by a class. 

•j- As distinguished in unaffected pronunciation from rood. It is 
between the sound of the French u, and the sound of yu as heard 
in w-nion. 



34 MANUAL OF ELOCUTION, 







TABLE II. 








CONSONANTS. 








Tonic Consonants.* 




1 


b 


as i 


6-ow, To-be. 


2 


d 


it 


d-are, ai-c?. 


3 


g 


« 


g-ive, mu-g. 


4 


J 


(« 


/-ew, G-eor-ge. 


5 


1 


tc 


/-ove, a-//. 


15 


n 


(( 


m-ay, ai-m. 


7 


n 


(( 


n-o, ow-n. 


8 


r (vibrant) " 


r-oe, p-r-ay. 


9 


r (smooth) " 


wa-r. 


10 


V 


tt 


v-ile, li-»c. 


11 


w 


tt 


w-oe. 


12 


y 


It 


y-e. 


13 


z 


tt 


z-one, ra-ze. 


14 


"g 


tt 


si-ng. 


15 


TH 


tt 


/A-en, brea-^e. 


16 


zh 


tt 

Atonies. 
(mutes.) 


a-z-ure. 


17 


k 


as in 


&-ing, li-&e. 



17 


k 


as in 


&-ing, \i-ke. 


18 


P 


tt 


/j-ine, nUp. 


19 


t 


tt 
(aspirates.) 


i-ake, pi-2. 


20 


f 


as in 


/-me, i-/. 


21 


h 


tt 


h~e. 


22 


s 


tt 


s-in, ye-s. 


23 


th (aspirate) " 


th-m, brea-/A. 


24 


wh 


tt 


wh-eat. 


25 


sh 


tt 


sA-ine, pu-sA. 


26 


ch 


tt 


cA-in, ch-m-ch 



* These may be called sw6-tonics, with reference to the vowels, 
all of which possess the character of tonics in a higher degree. 



REMARKS ON THE TABLES. S3 

On the foregoing Tables we shall make only the follow- 
ing practical remarks : — 

1. By prolonging the sounds of the long vowels, and 
dwelling upon them, the learner will perceive, that except 
a, a, e, and oo, they are not pure, but pass into other 
sounds; thus a, i and oi pass into e; 6, u and ou, into oo. 
It appears, therefore, that these latter are strictly diphthongs. 
This characteristic of these elements cannot fail to become 
apparent even to the unpracticed student, by making each 
of them terminate an interrogative sentence. Thus, Is this 
called a? Is that called «? &c. — This peculiarity in the 
structure of these sounds needs to be carefully marked and 
attended to ; otherwise, when they are prolonged, they may 
lose their true pronunciation. The sound with which they 
commence must not be dwelt upon too long, nor must they 
be allowed to pass on to the final sound too soon ; as, in 
either case, the true sound of these elements as heard in 
speech is lost. 

2. There follows the utterance of the consonant elements, 
a breathing or little voice, which has been conveniently de- 
signated the vocula, or vocule. This is most apparent after 
the utterance of the mutes, to which indeed it is essential. 
As a function of the voice, it possesses a power in speech 
which will be referred to hereafter. In the utterance of 
these elements however, the vocule should not occupy a 
prominent place. 

3. Except b, d and g, all the tonic consonant elements 
are most obviously capable of being prolonged at pleasure. 
These also may be prolonged by practice, and may acquire 
a considerable degree of fulness and force. When thus 
protracted, they exhibit a guttural murmur which, when 
sounded alone, has no peculiar beauty, but in the com- 



36 MANUAL OF ELOCUTION. 

pounds of speech often adds much to the grace, as well as 
to the effect of utterance. 

4. R should be made vibrant, whenever it is followed 
by a vowel which is articulated ; and in energetic expres- 
sion, may be thus uttered even when followed by a conso- 
nant. The peculiarity here referred to, in the articulation 
of this element, consists in giving a single percussion of the 
tongue against the roof of the mouth. If, in common dis- 
course, the vibration of the tongue is continued, or if the r 
is made vibrant at all, except before the open vowels, it 
savours of affectation, or presents the provincialism which 
so strongly characterizes the dialect of the Irish. The full 
beauty of this sound can be developed only by much prac- 
tice ; and cannot be mistaken, when heard in such words 
as ruin, jyray, &c. 

5. The z is one of the most agreeable sounds to the ear 
that our language famishes. But its agreeable qualities are 
developed only as the tongue recedes from the teeth. It 
should be entirely divested of the hissing sound of s ; and 
this can be done only by withdrawing the tongue, in its 
utterance, not only from a contact with the teeth, but from 
a close approximation to them. — It is worthy of remark, that 
in our written composition, this element is sometimes repre- 
sented by x, as in exhibit, &e. ; and much more frequently 
by s than by z, its proper representative. Thus the aspi- 
rated hiss heard in the words sin, yes, &c, even though 
sometimes represented by c, and even by x, does not occur 
in our language nearly so often as its appropriate sign pre- 
sents itself to the eye. 

6. The atonies, — including the mutes and aspirates, — 
take the name we give them from the fact of their being 
destitute of vocality in their utterance. The learner will 



REMARKS ON THE TABLES. 37 

not then expect to produce a sound, in his attempts to utter 
these elements. 

7. In the attempt to utter the mutes, nothing can be 
heard but the vocule of which we have before spoken. 

8. In practicing on the elements, as well as in ordinary- 
speech, the aspirates should be passed over lightly. All 
prolongation of these is a defect in utterance. 

9. In the exercises on these simple elements, as well as 
on all the future tables, great care should be taken to open 
the mouth so as to afford a free passage for the sound. 
The lips should never be compressed in speaking. Ex- 
cept in the pronunciation of the elements o, oo, and ou, all 
protrusion of the lips however should be avoided. It is 
this erroneous position of the lips that produces the fault of 
articulation called Mouthing* 

Before leaving this section, the learner should be certain 
that he has the exact sound of each of the alphabetic 
elements fully at his command ; and when he has become 
entirely familiar with them, he may be assured that he will 
not be likely to fail in any of his attempts to utter them in 
the compounds of speech. Unfortunately, the graphic 
characters employed in our language do not, except in a 
few cases, of themselves indicate the exact sound to be 
given to them in the words in which they occur. This 
must be learned from Dictionaries, and by observing the 
best usage. But when this is done, the learner has but to 
employ his already disciplined organs in the execution of 
what usage and taste shall dictate. 

* Sheridan uses this term differently. " By Mouthing," he says, 
" is meant dwelling- upon syllables that have no accent, and ought 
therefore to be uttered as quickly as consistent with distinct articu- 
lation ; or prolonging the sound of the accented syllables beyond 
their due proportion of time," 

4 



38 MANUAL OF ELOCUTION. 

SECTION II. 

OF ARTICULATION. 

A good articulation is a rare excellence even among 
those who are called good speakers; and such is its 
value, that it can even atone for many other deficiencies. 
It is of great service to the speaker, as it enables him to 
make himself heard anywhere, without any great effort of 
the lungs, and also secures to him the attention of his 
hearers. A good articulation can scarcely fail to secure 
attention. And to the hearers also, it is a matter of much 
interest ; since it enables them distinctly to hear what is 
said, and that with an agreeable satisfaction, instead of 
having to put forth a painful effort. When the alphabetic 
elements found in the tables of the last section can be ut- 
tered with facility, and with accuracy and neatness, a 
foundation deep and broad has been laid for a good articu- 
lation. For these are the very sounds which occur in 
speech, though not such as are heard in the pronunciation 
of the names of the graphic characters composing our 
alphabet. When once, then, the learner has them at 
command, he can rarely fail in his articulation for want of 
ability to utter them as they occur in the compounds of 
speech. As regards the vowel sounds, though not difficult 
of utterance, yet, inasmuch as the letters by which they 
are represented have no uniform sound, and are often not 
sounded at all, in vulgar pronunciation they are not unfre- 
quently substituted the one for the other, or suppressed alto- 
gether. Thus we are compelled to hear sudden, hyphen, 
sloven, mountain, uncertain, Latin, satin, gospel, chapel, 
poem, pronounced as if spelled — suddn, hyphn, slovn, 
mountn, uncertn, Latn,satn, gospl, chapl, pom; and so of a 



ARTICULATION. 39 

great number of words of similar pronunciation. The e and 
the 5 are likewise often suppressed in the whole class of 
words beginning with pre and pro, as in predict, prevent, pro- 
duce, promote, pronounced — prdict, prvent, prduce, prmote. 
The unaccented u is also often suppressed, or made to sound 
like e, in such words as particular, regular, singular, &c. ; 
and on the contrary, the unaccented e and a are as often 
suppressed, or converted in pronunciation to u, in the final 
syllable of words ending in ent, or, ant, ence and ance, as 
in — government, auricular, inhabitant, evidence, igno- 
rance. Indeed bad habits of articulating the vowels 
are liable to deform in utterance almost every word and 
syllable of the language. The effect of the exercise recom- 
mended in the different sections of this chapter will be to 
correct all such errors of articulation. If however after 
practicing these exercises, the learner shall detect himself 
in any error of this kind, he should make out a list of such 
words as he fails to articulate correctly, and practice on 
them daily, not only till he can utter them, but till he can 
do it with naturalness and ease. 

Many of the combinations of consonant sounds, which 
occur in our language, are really difficult of utterance, and 
may be appropriately exhibited here for the express pur- 
pose of practice on them. — The following list will be found 
to contain all the difficult combinations that can occur in 
speech. To many, some of them will seem almost impos- 
sible to be uttered ; but let such recollect that the difficulty 
is not produced by us. We select only combinations which 
actually exist, and which any one is constantly liable to 
meet with in reading or speaking. Many of these can be 
rendered easy of utterance only by familiarity with them. 
At first, they will probably be pronounced by the learner 



40 MANUAL OF ELOCUTION. 

in a stiff, affected, and perhaps awkward manner. Practice 
however will overcome all the difficulty ; and ease and 
grace may be combined in the utterance with dignity and 
force. And with most persons this can result only from 
practice, — practice, the same that gives ease and grace in 
the exercise of any of the other physical functions. Na- 
tural impediments, or defective organs of speech, are much 
more rare than is usually supposed. 



TABLE III. 

COMBINATIONS OF CONSONANT SOUNDS.* 

Combinations. Examples. 

Bd, bdst. Oi-Vd, pro-b'dst. 

bl, blst, bid, bldst, biz. trou-6/e, tvon-bPst, trou-bPd, tTOU-bPdst, 

trou-bles. 

br. br-and. 

bz. -pro-bes. 

bsi. rob-b'sL 

dl, dlst, did, didst, dlz. ban-die, ban-dPst, ban-dPd, han-dPdst, han- 
dles. 

dn, dnst, dnd, dndst, bar-den, har-<Pn's2, har-dVdf, har-d'n'dst, 

dnz. bar-dens, 

dr. dr-OYe. 

dz. dee-ds. 

dst. di-dst. 

dth, dths. brea-dth, brea-dlhs. 

gd, gdst. brag-g'd, brag-g'dst. 

gl, gist, gld, gldst, gl-ow, man-gle, man-gPsl, man-gPd, man- 

glz. gPdst, man-gles. 

gr. gr-ow. 

gz. wa-gs. 

gst. wag-g'st. 

jd. hed-g'd. 

* For the basis of this Table the author is indebted to Barber's 
Grammar of Elocution. — It is here corrected and enlarged. 



CONSONANT SOUNDS. 41 

lb, Ibd, Ibz. b\\-lb, bvAVd, bu-lbs. 

Id, Idz, IdsL h.o-ld, ho- Ids, ho-ld'st. 

Ij, Ijd. bu-/ge, bu-Zg-'d. 

Im, Imd, Imz. whe-lm, whe-/mV, whe-//»s. 

/n. izrWn. 

/*>, /yd, &z. she-/ye, she-lv^d, she-/ves. 

/z. ba-//s. 

/&, Iks, Ikt, lids. si-Ik, si-Iks, mu-lct, mu-lcls. 

Ip, Ipt, Ips, IpsL he-lp, he-lp'd, he-lps, he-lp'st. 

It, Us, list. ha-#, ha-/fc, ba-Wst. 

If, Ifs, Ift. gn-lf, gu-lfs, de-^-ware. 

Is, 1st. f-d-lse, fa-lPst. 

Ith, Uhs. hea-M, healths. 

kh, Icht. fi-lch, fi-/cA'd. 

md, mdst. ertio-mUd, enio-mVdst. 

mz. to-mbs. 

mp, mps, mpt, mpts. i-mp, i-mps, atte-mpt, atte-mpfo. 

wf, mfs. ny-mph, xvy-mphs. 

mst. ento-mVst. 

nd, ndz, ndst. se-nd, se-nds, se-nd'st. 

nj, njd. ra-nge, iz-nged. 

nz. fi-ns. 

ngd, ngdst, ngz, ngth, ha-ng'd, h^-ng^dst, ha.-ngs, stre-ngth, 

ngths. stre-ngths. 

nk, nkt, nks, nkst. wi-nk, wi-nk'd, wi-nks, wi-nk'st. 

nt, nts, nisi. wa-nt, wa-n/s, wa-nl'sl. 

ns, nst. wi-nce, wi-nc'd. 

nth, nths. hyaci-n/A, hyaci-n^s. 

nek, ncht. fii-nch, fii-nch^d. 

rb, rbst, rbd, rbdst, rbz. ba-r&, ba-r&'s/, ba-rVd, ba-r&'cfeJ, ba-rfo. 

rd, rdst, rdz. hea-rd, hea-rd'st, ha.-rds. 

rg, rgz. bu-rgh, bu-rgks. 

rj, rjd. u-rge, u-rg'd. 

rl, rlst, rid, rldst, rlz. hu-rl, hu-rVst, hu-r/'c?, bxx-rPdst, hu-r/s. 

rm, rmst, rmd, rmdst, wa-m, wa-rm'sf, wa-rm'df, wa-m'cfe/, 

rmz, rmih. wa-rras, wa~rmlh. 

rn, mst, md, rndst, bu~m, bu-rn'st, bu-rrfd, bu=r«'<£s£, bu °mt t 

rnt, mz. bu=rws. 

4* 



42 MANUAL OF ELOCUTION. 

rv, rvst, rvd, rvdst, rvz. cu-rve, cu-rv^si, cu-ru'c?, c\x-rv'dst, curves. 

rz. wdL-rs. 

rk, rks, rkst, rkt, rktst. ha-rk, ha-r&s, h-d-rk'st, ha-rk'd, ha.-rk'dst. 

rp, rps, rpst, rpt, rptsl. ha-rp, ha-rps, ha-rp'st, ha-rp'J, \ia.-rp'dst. 

rt, rts, rtst. hu-rt, hu-r/s, hu-rfst. 

rf, rft, rfs. tu-rf, tu-rfd, tu-r/s. 

7S, rst, rsts. hea-rse, bu-rs/, hu-rsts. 

rtk, rths, hea-rth, hea-rths. 

rsk. ha-rsA. 

rch, rcht. sea-rck, sea-rctfd. 

re?, vdst. li-y'e?, li-u't/s/. 

v/, u/s£, vld, vldst, viz. dri-u'/, driV/V, dri-vWd, dri-v' Pdst, dri-v'ts. 

vn, vnz, vnth. heaVn, heaVm, ele-v'n/A. 

rz. \i-ves. 

vsl. W-v'si. 

zd. ama-z'c?. 

zl, z/s^, z/e?, z/c?s£, 2/2. muz-z/e, muz-z/'sf, muz-z/'d, muz-z/'ds/, 

muz-z/es. 

zm, zmz. spa-sm, spa-swis. 

zn, znst, znd, zndst, prison, imprison'st, imprisoned, impri- 

znz. sori'dst, prisons, 

rnd, thz, ths£. wrea-th'd, wrea-ths, wrea-thV. 

kl, klst, kid, kldst, Mz. tmv-kle, tmc-kPst, truc-^/'c?, tmc-kPdst, 

tr\ic-kles. 

hi, knst, knd, kndst, b\ac-ken, blac-ken'st, blac-ken^d, blac- 

&nz. kertdst, blac-^ens. 

kr. cr-oney. 

&/, kts. a-ct, a-cts. 

&s. ra-c&s. 

pi, plst, pld, pldst, plz. pl-\ick, rip-pie, rip-pPst, rip-pPd, rip-pPdst, 

rip-pies, 

pr. pr-ay. 

pt, pts. cry-jt?/, crj-pts. 

ps, pst. cli-jos, clip-p'st. 

pth, pths. de-pth, de-pths. 

tl, tlst, tld, tldst, tlz. set-lie, set-tl'st, set4Pd, set-tfdst, seW/cs. 

tr. tr^nst. 

is, tst. combats, combat's/. 



CONSONANT SOUNDS. 43 

fl. fist, fid, fldst, filz. fi-ame, tri^e, iri-JVst, Xri-JVd, iri-jVdst, trifies. 



fr- 


/r-ame. 


ft, fts, fist. 


wa-ft, wa-fts, watftfst. 


fs, fst. 


lau-ghs, lau-gh'st. 


fth, fths. 


t\-fth, fL-fths. 


si, slst, sld, sldst, slz. 


sl-aj, nestle, nestPst, ne-stPd, nestPdst, 




nestles. 


sm. 


sm-6ke. 


sn, snz. 


sn-ail, basin, basins. 


sk, skt, sks, skst, skr. 


s&-ip, mask, masked, masks, mask'st, scr-ew. 


sp, spt, sps, spr, spl. 


sp-ot, rasp, rasped, rasps, spr-ing, spl-ash. 


st, sts, sir. 


st-aj, bust, busts, str-eet. 


thm, thmz, ihr, tht, ths. 


logari-thm, \ogari-thms, thr-ough, smi-th'd, 




you-ths. 


shr, sht. 


shr-ink, ipush'd. 


cht. 


fet-eA'd. 



The following sentences, in most of which some of these 
combinations occur, and all of which present some difficul- 
ties to the untutored organs of speech, maybe practiced to 
advantage. He whose articulation is already perfect will 
find little occasion to delay on them : he who finds any 
difficulty should not, till this is removed, pass to another 
section. 

1. The evening was fine, and the full orbed moon shone 

with uncommon splendor. * 

2. And oft false sounds sunk near him. 

3. Who ever imagined such an ocean to exist ? ) 
Who ever imagined such a notion to exist ? ) 

4. The man of talents struggles through difficulties severe. 

5. The youth hates study. 

6. It was the act of all the acts of government the most 

objectionable. 



44 MANUAL OF ELOCUTION. 

7. He is content in either place. 
He is content in neither place. 

8. That lasts till night. ) 
That last still night. } 

9. He was amiable, respectable, formidable, unbearable, 

intolerable, unmanageable, terrible. 

10. And there the finest streams through tangled forests 

stray. 

11. Can you say crackers, crime, cruelty, crutches'? 

12. It was the severest storm of the season, but the masts 

stood through the gale. 

13. The severest storm that lasts till morn. 

14. Thou prob'st my wound instead of healing it. 

15. The steadfast stranger in the forest strayed. 

16. He was branded as a traitor. 

17. The wild beasts straggled through the vale. 

18. The word burgh signifies a town or city that sends a 

member or members to parliament. 

19. That morning, thou that slumber^dst not before, 
Nor sleptst, great ocean, laidst thy waves at rest, 
And husWdst thy mighty minstrelsy. 

20. He watched and wept, he felt and prayed for all. 

21. They weary wandered over xoastes and deserts. ) 
They weary wandered over waste sand deserts. S 

22. FalVn, falVn, falPn, falVn, falVn from his high 

estate. 

23. When Ajax strives some roctfs vast weight to throw, 
The line, too, labors, and the words move slow. 

24. Thou found' } st me poor at first and keep'st me so. 

25. From thy throne in the sky, thou look^st and laugtfst 

at the storm, and guid'st the bolt of Jove. 



SENTENCES. 45 

26. Do you mean plain or playing cards? 

27. The seas shall waste, the skies in smoke decay, 
Rocks fall to dust, and mountains melt away ; 
But fixed his word, his saving power remains : 
Thy realm for ever lasts, thy own Messiah reigns. 

28. Those who lie entombed in the public monuments. 

29. Then shrieked the timid and stood still the brave. 

30. Mpt in the bud. 

31. What thou wouldst highly, thou wouldst holily. 

32. The hidden ocean showed itself anew, 
And barren wastes still stole upon the view. 

33. Think'' st thou so meanly of my Phocion ? 

34. He never winced, for it hurt not him. 

35. He begged pardon for having troubled the house so 

long. 

36. 'Twas twilight, for the sunless day went down, 

Over the waste of waters, like a veil 
Which, if withdrawn, would but disclose the frown 
Of one who hates us. — 

37. The wolf, whose howVs his watch. 

38. They next reef'd the top-sails. 

39. Thou wagg^st thy tongue in vain. 

40. The word filch is of doubtful derivation. 

41 . I do not flinch from the argument. 

42. Where does the river Elbe arise ? 

43. His deeds speak his praise. 

44. And first one universal, shriek there rushed, 

Louder than the loud ocean, like a crash 
Of echoing thunder ; and then — all was hushed, 

Save the wild wind and the remorseless dash 
Of billows : but at intervals there gushed, 

Accompanied with a convulsive splash, 



46 MANUAL OF ELOCUTION. 

A solitary shriek, the bubbling cry 
Of some strong swimmer in his agony. 

45. Racked with whirlwinds. 

46. Thou chuckled'st over thy gains too soon. 

47. He was hedged in on every side. 

48. False sounds sunk near him. 

49. Thirty-three thousand things. 

50. But he was to be stretched upon the bed of Procrustes. 

51. PercivaVs acts and extracts. 

52. Thou liv'st — liv'st, did I say? appear' st in the senate. 

53. The magistrates ought to prove it. 

54. Have you a copy of Smith's Thucydides? 

55. He truckles to power. 

56. He twists the texts to suit the several sects. 

hi. The one extremity was pointed, the other bulbed. 

58. This meteor ous vapor is called Will o' the wisp. 

59. Foreign travel enlarges and liberalizes the mind. 

60. He sawed six sleek slim saplings. 

61. The bulbs should be immersed in rain water. 

62. The policy of this prince was to mulct the rich Jews. 

63. Thou stumbVst on amidst the mists. 

64. His attempts were fruitless. 

65. The sounds of horses' hoofs were heard at a distance. 

66. Your healths, gentlemen. 

67. He thrusts his fists against the posts. 

68. He mulcts his subjects. 

69. He holds his trust from the people. 

70. Overwhelmed with whirlwinds and tempestuous fire. 

71. When a twister ', a twisting, will fo#w£ him a ta's£, 
For twisting his W he £/?ree twines doth intwist ; 
But if one of the twines of the jftois£ c/o£/i untwist, 
The to'/?e Motf untwisteth, untwisteth the twist. 



SENTENCES. 47 

72. His kindness overwhelms me. 

73. They were wrenched by the hand of violence from a 

congenial soil. 

74. He barbed the dart by which he fell. 

75. Thou openest thine hand, and satisflest the desire of 

every living thing. 

76. Whose mouth speaketh vanity. 

77. The culprit was hurled from the Tarpeian rock. 

78. Are the goods wharf ed^ 

79. The heights, depths, and breadths of the subject. 

80. Pluck from the memory a rooted sorrow. 

81. Thrice he walked by their oppressed and fear-surprised 

eyes. 

82. A sudden day of joy, that thou expecfst not, nor I 

looked not for. 

83. Thinkht thou we shall ever meet again ? 

84. I heard thee say but now, " Thou lik^dst not that," 

85. The lordly /ion /eaves his lonely /air. 

86. He was /ong, /ean, and /ank, and Zaughed /oud/y, 

87. How sweet/y s/ow the Ziquid /ay 
In ho/y ha//e/ujahs rose. 

88. .Ruin seize thee, ruthless king. 

89. Around the hearth the crackling faggots blaze. 

90. Approach thou, like the rugged .Russian bear, 
The armed rhinoceros, the Hyrcan tiger. 

91. The master current of her mind 
.Ran permanent and free. 

92. Jtound and round the rugged rocks 
The ragged rascal ran. 

Examples not unlike the foregoing can be found on 
every page of many books. The teacher should not fail 



48 MANUAL OF ELOCUTION. 

to direct the special attention of the learner to their execu- 
tion, whenever they occur in his reading exercises. A 
vicious articulation is somelimes more apparent in the cur- 
rent of discourse, than in the pronunciation of single sylla- 
bles or words. This is not unfrequently induced by the 
animal and intellectual temperament ; and the habit, if it 
has been otherwise formed, is always rendered more in- 
veterate where there is a sluggish action of the mind, or an 
excess either of vivacity or of sensibility. In the one case, 
the sounds proceed from the organs of speech half- formed, 
and indicate to every one that the reader or speaker is too 
slothful to make the necessary effort for distinct enuncia- 
tion ; while in the others the confusion arises from too 
much haste. In either of these cases, after all the practice 
recommended in this and in succeeding sections, additional 
exercises may be found necessary ; and these may consist 
simply in reading aloud an hour each day, in a slow and 
distinct manner, and in the presence of some one who will 
notice and correct the slightest tendency to let fall a conso- 
nant or a syllable from the organs of speech unfinished, or 
to hasten the rate of utterance beyond that of the utmost 
deliberation. — An attention to this whole matter is the more 
important, as our language furnishes none of those expe- 
dients for preventing difficult collisions of sound, or for 
facilitating their articulation, which the Greek afforded and 
in which several of the modern languages abound. 



SECTION III. 

OF THE TIME OF THE VOICE. 

Time means the same with quantity ; and syllables are 
considered as long or short, according to the time given 



OF THE TIME OF THE VOICE. 49 

them in utterance. When, however, time is spoken of with 
reference to the utterance of a sentence or of a discourse, 
it is designated as slow or quick. The power to prolong 
the sound of syllables capable of quantity is of infinite im- 
portance to the effect of delivery, at the same time that 
it may be considered an elegant accomplishment in the 
speaker. 

In music there are terms to express the nicest shades of 
quantity, — from the demi-semiquaver to the semibreve. In 
elocution, the same phenomena exist, though we have no 
terms to express them. Every elementary sound however, 
or every syllable, is not equally capable of protraction. 
The short vowels, for example, cannot be prolonged like 
the long vowels ; and when one of these standing alone is 
followed by a mute, the syllable is of the shortest kind. 
Thus ak, ap, at, ac-count, «p-point, at-tic. These are 
called Immutable syllables. If however, even in this situ- 
ation, the short vowel is preceded by a tonic consonant, it 
is lengthened somewhat. Thus trap, des-^rwc-tion, grat- 
itude. These, with syllables ending in 6, d and g, as 
also those ending in the aspirates, are called Mutable sylla- 
bles. But if the syllable terminates with a long vowel, or 
with any tonic consonant except 6, d or g, it may be pro- 
longed, or shortened, to any desired extent ; and hence 
they are called Indefinite syllables. 

Quantity, although most obviously a distinct element, 
and deserving of this separate consideration, yet can never 
be represented free from combination with other elements. 
Hence we shall not present any exercises for practice under 
this head ; but having now obtained a distinct idea of its 
nature, without delaying at this point to set forth its useful 

5 



50 MANUAL OF ELOCUTION. 

applications, shall pass to consider another of the attributes 
of good delivery.* 



SECTION IV. 

OF STRESS. 

Every sound capable of prolongation, uttered without 
excitement, and in a natural manner, commences full and 
somewhat abrupt, and gradually decreases in fulness, till it 
becomes a mere breathing. Though this movement of the 
voice may be varied almost at pleasure, yet it has suggested 
the designation of the Radical movement as applicable to 
the first part of the sound ; while the last part — the gradual 
decrease and final termination of the sound — has been 
called the Vanishing movement of the voice. And these 
designations continue the same, on whatever part of the 
sound the principal force of the voice is laid. This force 
of voice however is called stress ; and, when given at the 
opening of the sound, is called Radical stress, because 
given on the radical part of the vocal movement. The 
stress may be given so as to fall on the middle of the move- 
ment, when it is called the Median stress ; or it may fall 
at the vanish, that is, at the close of the sound, in which 
case it is called the Vanishing stress. A command of the 
several functions here described, is of the utmost importance 
to the speaker, since they each have their peculiar signifi- 
cancy, and since, with few exceptions, some one of them must 
enter into the pronunciation of every syllable forcibly ut- 
tered. We shall therefore propose some exercises which, 

* The exercises proposed in the next section on Stress are equally 
well adapted to the improvement of the voice, as regards Quantity. 



OF STRESS. 51 

while they illustrate this subject, will give the learner the 
command of quantity, and lay a foundation for general 
improvement in all the vocal powers. 

Radical Stress. — This is the kind of stress heard in the 
successive strokes upon the keys of a piano. It may also 
be given by the voice, on both the long and the short 
vowels ; and is the only kind of stress which the Immuta- 
ble syllables can take. The exercise, however, on sounds 
or syllables of short quantity, we shall reserve for another 
section ; and here use only such as combine both stress and 
quantity. And we shall use, for this purpose, the simple 
elements, and the simplest combinations ; because, though 
we might employ short words, we could scarcely find 
words embracing all the various elementary sounds, and 
thus the learner would lose the improvement in articulation, 
which we purpose to combine with the exercises of this 
and several of the following sections. Let the learner then 
refer to Table I; and striking each of the long vowels 
successively full at the opening, let the voice gradually die 
away till it becomes inaudible. This will exhibit the sim- 
plest modification of quantity ; and may perhaps be repre- 
sented with sufficient accuracy to the eye thus : — 



Let this exercise be continued till the learner has acquired 
perfect smoothness of voice, and the command of the equa- 
ble movement which decreases gradually till it dies away 
in silence. When all the beauties of this vanishing 
movement are developed in execution, the ear is scarcely 
less delighted than in listening to the higher excellences of 
music. This function of the voice should then be carefully 
cultivated ; and to aid in its further training, and at the same 



52 MANUAL OF ELOCUTION. 

time to cultivate other excellences of the art of speaking, 
we propose the following additional tables of exercise. 

TABLE IV. 

Combinations of the Tonic Consonants with the Long 
Vowels.* 

ba da ga ja la ma na ra va wa ya za. THa zha 

ba da ga ja la ma na ra va wa ya za THa zha 

ba da. ga ja, la. ma, na, ra, va, wa, ya za, THa, zha. 

be de ge je le me ne re ve we ye ze THe zhe 

bi di gi ji II mi ni ri vi wi yi zi thi zhl 

bo do go jo 16 mo no ro vo wo yd zo tho zho 

bu du gu ju. lu. mu nu ru vu wu yu zu thu zhu 

bou dou gou jou lou mou nou rou vou won you zou thou zhou 

boo doo goo joo loo moo noo roo voo woo yoo zoo thoo zhoo 

boy doy goy joy loy moy noy roy voy woy yoy zoy Tiioy zhoy 

TABLE V. 

Combinations of the Atonics with the Long Vowels. 



ka 


pa 


ta 


fa 


ha 


sa • 


tha 


wha 


sha 


cha 


ka 


Pa 


ta 


fa 


ha 


sa 


tha 


wha 


sha 


cha 


ka 


pa 


ta. 


fa 


ha 


sa, 


tha. 


wha. 


sha 


cha. 


ke 


pe 


te 


fe 


he 


se 


the 


whe 


she 


che 


ki 


Pi 


ti 


fl 


hi 


si 


- thi 


whi 


shi 


chi 


ko 


po 


to 


fo 


ho 


so 


tho 


who 


sho 


cho 


ku 


pu 


tu 


fu 


hu 


sii 


thu 


whu 


shii 


chu 


kou 


pou 


tou 


fou 


hou 


sou 


thou 


whou 


shou 


chou 


koo 


poo 


too 


foo 


hoo 


soo 


thoo 


whoo 


shoo 


choo 


koy 


poy 


toy 


foy 


hoy 


soy 


thoy 


whoy 


shoy 


choy 



* Note to the Teacher. — This and the four following Tables 
are carried out so as to embrace all the possible combinations, for 
the purpose of detecting in the learner any defects of articulation, 
should such exist. On any combination which proves difficult of 
utterance, the practice should be continued till the sound is per- 
fectly familiar to the organs of speech. — For the mere purpose of 
exercise in regard to stress or quantity, where no such difficulty of 
articulation presents itself, a few only of the most common and 
agreeable combinations may be used. 



TABLES FOR PRACTICE. 53 

For practice on these Tables, 

1. Let each of the consonant sounds be successively taken 
and fully uttered; but without prolonging them, let the 
voice abruptly burst upon the vowels, taken one by one, 
which are to be protracted as in the exercise recommended 
on Table I. 

2. Repeat the combinations in Table IV, protracting the 
sound of both the consonants and vowels.* 











TABLE VI. 








Combinations of 


THE 


Long Vowels with 


the Tonic Ci 


DNSO- 










NANTS. 










ab 


ab 


ab 


eb 


lb 


6b 


ub 


oub 


oob 


oyb 


ad 


ad 


ad 


ed 


id 


6d 


fid 


oud 


ood 


oyd 


ag 


ag 


ag 


eg 


ig 


6g 


ug 


oug 


oog 


°yg 


aj 


aj 


aj 


ej 


ij 


oj 


uj 


ouj 


ooj 


oyj 


al 


al 


al 


el 


11 


61 


ul 


oul 


ool 


oyl 


am 


am 


am 


em 


im 


6m 


urn 


oum 


oom 


oym 


an 


an 


an 


en 


In 


on 


un 


oun 


oon 


oyn 


ar 


ar 


ar 


er 


Ir 


or 


ur 


our 


oor 


oyr 


av 


av 


av 


ev 


IV 


6v 


uv 


ouv 


oov 


oyv 


az 


az 


az 


ez 


1Z 


6z 


uz 


ouz 


ooz 


oyz 


ang 


ang 


ang 


eng 


Ing 


6ng 


ung 


oung 


oong 


oyng 


aTH 


aTH 


aTH 


§th 


1TH 


6th 


UTH 


OUTH 


OOTH 


OVTH 


azh 


azh 


azh 


ezh 


izh 


6zh 


uzh 


ouzh 


oozh 


oyzh 



In the practice on the foregoing Table, let both the 
vowels and consonants be protracted as much as possible, 
consistently with a neat pronunciation. 

* Though this exercise of the vocal organs is here recommended, 
the learner should be cautioned against habitually protracting the 
initial consonants in ordinary delivery. When thus prolonged, the 
enunciation becomes disagreeable and affected. This is sometimes 
heard in the pulpit ; and Dr. Rush speaks of having heard this de- 
fect in the pronunciation of the following words of Macbeth, by a 
distinguished actor — 

Canst thou not m-inister to a m-ind diseased; 

Pl-uck from the m-emory a r-ooted s-orrow, &c. 

5* 



54 MANUAL OF ELOCUTION. 

TABLE VII. 

Combinations of the Long Vowels with the Atonics. 



ak 


ak 


ak 


ek 


Ik 


ok 


uk 


ouk 


# 


oyk 


ap 


ap 


ap 


ep 


ip 


op 


up 


oup 


oop 


oyp 


at 


at * 


at 


et 


It 


6t 


iit 


out 


oot 


oyt 


af 


af 


af 


ef 


if 


of 


uf 


ouf 


oof 


oyf 


as 


as 


as 


es 


is 


OS 


us 


ous 


oos 


oys 


ath 


ath 


ath 


eth 


ith 


6th 


iith 


outh 


ooth 


oyth 


ash 


ash 


ash 


esh 


ish 


osh 


ush 


oush 


oosh 


oysh 


ach 


ach 


ach 


ech 


ich 


och 


uch 


ouch 


ooch 


oych 



In the practice on the foregoing Table, let the vowels 
he protracted as much as possible ; but the consonants 
only enough for distinct utterance. 

TABLE VIII. 

Combinations of the Short Vowels with the Tonic Conso- 









NANTS. 






ah 


eb 


ib 


ob 


UD 




ad 


ed 


id 


od 


ud 


oodf 


ag 


eg 


ig 


og 


ug 


??gt 


aj 


ej 


ij 


oj 


U J 




al 


el 


il 


ol 


ul 


99lf 


am 


em 


im 


om 


urn _ 


oomf 


an 


en 


in 


on 


un 




ar 


er 


ir 


or 


ur 




av 


ev 


iv 


ov 


uv 




az 


ez 


iz 


oz 


uz 




ang 


eng 


ing 


ong 


ung 




aTH 


eTH 


iTH 


OTH 


UTH 




azh 


ezh 


izh 


ozh 


uzh 





* Oo before k is always short; also before the atonics p and t, 
in the words hoop and foot. 

-("The short sound represented by oo is heard only before the tonic 
consonants d, g, /, and m, as in the words should, sugar, full, and wo- 
man ; nor has oo this sound before the tonic consonants, except in the 
five words good, hood, stood, wood, and wool. In all others it is long. 



* TABLES FOR PRACTICE. 55 

In the foregoing Table the vowels are to receive short 
quantity, while the consonants are lengthened as much as 
possible. In this, as in the Vlth Table, the learner will 
find the consonant elements b> d and g more difficult of 
prolongation than the others, and more difficult than in 
the other exercises ; but the ability to extend the quantity 
of these elements is so desirable, that the practice on them 
as well as on the others is here recommended. 

In all these exercises, the learner should be careful to 
exhibit a distinct articulation of the elements, composing the 
syllabic combinations, to give the usual relative quantity to 
these elements, and carefully to execute the delicate vanish 
which should terminate the vocal movement. Most of the 
combinations thus formed, however strange to the ear they 
may sound on receiving this separate pronunciation, actu- 
ally occur in the regular flow of ordinary speech ; and he 
who leaves these exercises, either from their inherent diffi- 
culty of execution or from disgust, leaves them but to find 
them again, where, from inability to execute them, he may 
experience the chagrin of a failure, for having avoided the 
trouble of a preparation. 

Median stress. — This is designated in music by the term 
swell ; and in works of music is represented to the eye by 
the following sign : — 



The sound here indicated gradually swells to a full vo- 
lume, and then gently subsides, exhibiting all the charm 
connected with the vanishing movement as before described. 
It is suited only to syllables of long quantity, and therefore 
the long vowels of Table I, and Tables IV, V, VI, and VII, 
are all that can be used for exercise on this form of stress ; 



58 MANUAL OF ELOCUTION. 

and they may be used under these two conditions : First, 
care should be taken that the middle point of the sound 
have the greatest fulness, and that the swell and vanish be 
smoothly and equably formed ; and secondly, that in the 
Vth and Vllth Tables, embracing the atonies, the protrac- 
tion of sound should be confined to the vowels, while in 
the others, it should extend to the consonants. 

Vanishing stress. — This can be given only on syllables 
of long quantity ; and is the exact reverse of the Radical 
stress when combined with quantity. This then would be 
represented to the eye thus : — 



It consists of a gradual increase in the fulness of the 
sound from the radical to the extreme of the vanish, which 
should exhibit a high degree of abruptness. For practice, 
use the long vowels of Table I, and Tables IV, V, VI and 
VII. 

There is another kind of stress occasionally though 
rarely used, which is laid on both the radical and vanish 
of a syllable of long quantity ; and is called the Compound 
stress. This has its peculiar force in delivery, as will be 
seen under the head of Emphasis ; but its recurrence is not 
sufficiently frequent to suggest in relation to it any system 
of practice. There is still another form of stress which 
consists simply in the addition of force to the natural con- 
crete movement, and which is designated as the Loud 
Concrete. This is employed particularly in accent. 

It may not be amiss to remind the inexperienced learner 
that all these forms of stress, not less than the combinations 
of elements employed in the Tables of this section, are 
among the constantly recurring phenomena of actual speech. 



PITCH OF THE VOICE. 57 

The lessons of this section are then of the most practical 
character, whatever the learner may be inclined to think 
of them ; and thus should not be hastily abandoned even 
in the first place, and then should be often recurred to as a 
discipline of the voice. 



SECTION V. 

OF THE PITCH OF THE VOICE. 

Pitch has exclusive regard to the place of the sound 
with reference to the musical scale ; thus its variations are 
denoted by the terms high and low, rise and fall. Dif- 
ferences in pitch are always presented by touching different 
keys of a piano ; and the extent to which the learner can 
rise or fall on the musical scale determines the compass of 
his voice. The Natural or- Diatonic scale to which we 
here refer consists of a succession of eight sounds either 
in an ascending or descending series. A simple sound 
produced at any point in the scale, is called a note ; and 
the first of these sounds in an ascending series is called 
the keynote. The distance between any two points of the 
scale, whether proximate or remote, is called an interval. 
The intervals between the proximate points are called tones, 
except between the third and fourth, and the seventh and 
eighth ; in which cases they are but half the length of the 
others, and are called semitones. 

The intervals between the first or keynote and the others 
successively are called the second, the third, the fourth, 
the fifth, the sixth, the seventh and the eighth or octave ; 
and this irrespective of the point assumed on the scale as 
the keynote. 

Compass of voice, or the power to rise and fall at plea- 



58 MANUAL OF ELOCUTION. 

sure through a wide scale, is of great importance to the 
speaker. It relieves his vocal organs from the fatigue of 
efforts long continued on the same pitch, and also furnishes 
the basis of an agreeable variety in his intonation. The 
compass of the voice may be sufficiently extended by 
proper exercise on the Tables of the foregoing sections, on 
words, or on sentences. First, let the example be uttered 
on as low a note as possible ; then let it be repeated, gra- 
dually rising to the highest pitch of which the voice is ca- 
pable. This exercise judiciously and perseveringly prac- 
ticed cannot fail to give the learner the command of a suffi- 
ciently extensive compass of voice. 

The changes of pitch produced by striking the different 
keys of the piano are called discrete changes of pitch. The 
same may be produced by drawing a bow across the differ- 
ent strings of a viol. The space between these successive 
notes is called a discrete interval. Another kind of change 
may be produced by sliding the finger along the string of the 
viol at the same time the bow is drawn, which is called a 
concrete change of pitch ; and it is this which is heard in 
every effort of the human voice at speech as distinguished 
from song. In song, as produced by instruments, the 
sound is continuous on the same note ; and it is the same 
with the human voice also, after the intended note is once 
reached by a slight upward movement. The continuity 
of sound on the same line of pitch is peculiar to song. 
This never properly belongs to speech; but, as a defect in 
delivery, is sometimes heard in the pulpit exercises of some 
of the minor Christian sects. This " puritanical whine," or 
system of " speech singing," which prevailed so generally 
two hundred years ago, is now however passing away. 

This peculiarity of speech we shall illustrate. Let the 



SLIDES OF THE VOICE. 



59 



learner propose to himself in a familiar manner, this question : 
Do I say a, or a? and he will perceive a difference in the 
successive modes of uttering this vowel. In the first, the 
movement is upward, and in the latter it is downward. 
And now if he shall attempt to repeat the vowel elements, 
he will find that the voice will naturally fall into the one or 
the other of these modes of utterance ; that is, it will either 
rise or fall on each successive effort. And the result will 
be the same, if he shall attempt to pronounce syllables or 
words. 

Having satisfied himself of the existence of a rise or fall in 
these cases, let him repeat the same question with different 
degrees of earnestness ; and he will find that the rise and 
fall will become greater, as the energy with which he pro- 
poses the question increases. The space in all these cases 
between the radical and vanish is called a concrete interval. 
And these movements, according as they are upward or 
downward, are called upward or downward Slides of the 
voice.* 

The slides of the voice which occur mostly in speech, 
are those of the semitone, o£ a full tone or second, of the 
third or two full tones, of the fifth, and of the octave ; all 
of which, except the first, may be represented by the aid of 
the musical scale. 



!3 "^ 

03 h 
fe O 

P«2 



£^3 

a a 

O Q3 






IS 

o _a 
OH 





dill 




A 


fif 


*^ 


^ 


£K 


<w 




** 













Called in our old books on Elocution rising- and falling Inflections. 



60 



MANUAL OF ELOCUTION. 



1 . 
1-1 






£ 5 

o o 

CO 



@| v 



1. I7ie slide of a Semitone. — This is heard in the com- 
plaints of children, and is also the element which gives the 
peculiar expression to the language of grief, or of pity. It 
should be at the command of every speaker, and yet there 
is danger of using it too freely. It can be caught by 
the experienced ear, in the attempt to imitate the tender 
emotions, and can then be readily transferred to any desired 
syllable or word ; but the exercise will be most successful 
if confined to passages expressing complaint, grief or pity. 
This element, when extended beyond mere words or 
phrases, is called the Chromatic melody. 

2. The slide of the Second. — This is the slide employed 
in the reading of simple narrative, and in unimpassioned 
discourse, and when used continuously constitutes the Dia- 
tonic melody. 

3. The slides of the Third, Fifth, and Octave. — Exercise 
on these several functions of speech, after the extent of each 
shall be determined, is peculiarly important; and the ex- 
ercise may extend to both the upward and downward 
movements. The upward movement may be given either 
with the radical or vanishing stress; the downward usually 
though not always requires the radical. 

The musical scale will suggest to the learner the means 
of measuring the extent of a slide, by fixing in the mind 
the radical and vanishing points and thus determining the 



SLIDES OF THE VOICE. . 61 

interval. It will also enable him to fix beforehand the ex- 
tent of the slide which he wishes to practice. Suppose it 
to be a Third, he will rise two notes above the key— thus 
fa — sol — la, or do — re — mi, discretely ; and then, instead 
of going up by skips, will rise on the sound fa or do con- 
cretely up to the place of la, or mi ; and thus fix for him- 
self the limit of the desired slide. Then it may be repeated 
on one of the vowel elements, or on any syllable or word 
at pleasure. The same, if it be a fifth or an octave. And 
when he has learned to determine these points, he is pre- 
pared for practice on this branch of the subject ; and prac- 
tice obviously is all that is necessary to enable the learner 
to extend the slides from any one point to another within 
the compass of his voice. 

For practice on these slides, both upward and downward, 
we would recommend to the learner, 

1. To use the long vowel elements of Table I. 

2. To use the words employed in the same Table to 
illustrate these elementary sounds ; thus, ale, all, arm, &c. 
This table of words may be extended at pleasure. 

3. It is recommended to the learner, to apply these slides 
to words, as they occur in current discourse. In the fol- 
lowing exercises, the acute accent — ' is used to denote the 
rising slide, and the grave accent — v the falling. And 
whenever this latter inflection occurs, it is to be specially 
borne in mind, that the downward movement does not 
commence on the same line of pitch with the current 
melody, but always on a line above it. 

1. Will you go— or stay 1 Will you ride — or walk 1 Will you 
go to-day — or to-morrow 1 

2. King Agrippa, believest thou the prophets 1 I know that thou 
believest. 



62 MANUAL OF ELOCUTION. 

3. Armed, say you 1 Armed, my lord. From top to toe? My 
lord, from head to foot. 

4. By honor, and dishonor; by evil report and good report; as de- 
ceivers, and yet true; as unknown, and yet well known; as dying, 
and behold we live; as chastened, and not killed; as sorrowful, yet 
always rejoicing; as poor, yet making many rich ; as having no- 
thing, and yet possessing all things. 

5. Whither shall 1 turn! to what place shall I betake myself? 
Shall I go to the capitol 1 Alas I it is overflowed with my brother's 
blood ! Or shall I retire to my house 1 Yet there I behold my 
mother plunged in misery, weeping and despairing! 

6 And though I have the gift of prophecy, and understand all 
m v ysteries, and all knowledge ; and though I have all faith, so that 
I could remove mountains, and have not charity, I am nothing. 

7. The man who is in the daily use of ardent spirit, if he does not 
become a drwilcard, is in danger of losing his health and character. 

8. True charity is not a meteor which occasionally glares; but a 
luminary, which, in its orderly and regular course, dispenses a be- 
nignant influence. 

9. Caesar, who would not wait the conclusion of the consul's 
speech, generously replied, that he came into Italy not to injure the 
liberties of Rome and its citizens, but to restore them. 

10. If any man sin, we have an advocate with the Father, Jesus 
Christ the righteous : and he is the propitiation for our sin; and 
not for ours only, but also for the sins of the whole world. 

1 1 . These things I say now, not to insult one who is fallen, but to 
render more secure those who stand ; not to irritate the hearts of the 
wounded, but to preserve those who are not yet wounded, in sound 
health; not to submerge him wh*o is tossed on the billows, but to 
instruct those who are sailing before a propitious breeze, that they 
may not be plunged beneath the waves. 

12. But this is no time for a tribunal of justice, but for showing 
mercy; not for accusation, but for philanthropy ; not for trial, but 
for pardon ; not for sentence and execution, but compassion and 
kindness. 

13. If the population of this country were to remain stationary, a 
great effort would be necessary to supply each family with a Bible. 



THE DIATONIC SLIDES. 63 

The teacher, or learner, can multiply these examples at 
pleasure ; and the subject should not be passed over, till 
the ear of the learner can distinguish instantly between the 
rising and the falling slide, as it occurs in speech ; nor till 
he can execute them at pleasure. 

The learner need scarcely be reminded, though we treat 
the different functions of the voice separately and devote to 
them different sections in our Manual, yet that in speech 
they are often united. Thus, the slides can never be 
given without involving quantity \ and some one of the dif- 
ferent kinds of stress. But though so closely allied, still 
they are entirely distinct elements. 

Before leaving this subject, we proceed to notice some 
of the practical uses of the slides, and the rules which 
direct their employment. 

I. The Diatonic Slides. 

These are slides through a single tone only, and are not 
used for purposes of Expression. These slides distinguish 
speech from song, and in discourse belong to the utter- 
ance of every syllable, which does not take in a wider con- 
crete interval for the purpose of Emphasis or Interrogation. 
In the simple melody of speech, the rising slide greatly 
predominates over the falling ; as the latter occurs only at 
the close of sentences, or members of sentences, nor always 
there. Rules then are only requisite to determine the slide 
before pauses. These have been multiplied by writers on 
Elocution ; but, reserving the rules for Emphasis and Inter- 
rogation for another place, it is believed that the rules for 
the Diatonic Slides may be briefly summed up thus : — 

Rule I. — The proper Cadence, at the close of a com- 
plete sentence, requires that the last syllable, and in some 



64 MANUAL OF ELOCUTION. 

constructions several of the concluding syllables — rarely 
however exceeding five, — should take the Falling Slide. — 
This principle will find ample illustration in the section on 
Cadence. 

Rule II. — Members of sentences which express a com- 
plete and independent sense, require the Falling Slide on 
the last accented syllable, and on all that follow it. 

Examples. 

1. Charity suffereth long, and is kind; charity envieth not; cha- 
rity vaunteth not itself; is not puffed up; doth not behave itself 
unseemly ; seeketh not her own ; is not easily provoked ; thinketh 
no evil. 

2. The wind and rain are over ; calm is the noon of day ; the 
clouds are divided in heaven ; over the green hill flies the incon- 
stant sun ; red through the stony vale comes down the stream of 
the hill. 

3. The soul can exert herself in many different ways of action : 
she can understand, will, imagine — see and hear — love and dis- 
course — and apply herself to many other like exercises of different 
kinds and natures. 

4. I observed that those who had but just begun to climb the 
hill, thought themselves not far from the top ; but as they proceed- 
ed, new hills were continually rising to their view ; and the sum- 
mit of the highest they could before discern, seemed but the foot of 
another: till the mountain, at length, appeared to lose itself in the 
clouds. 

Rule III. — Members of sentences w T hich do not express 
a complete and independent sense require the Rising Slide. 
— The pauses which follow such members or clauses — are 
called Pauses of Suspension. 

Examples. 
1. If some of the branches be broken off, and thou, being a wild 
olive-tree, wert grafted in among them, and with them partakest 



THE DIATONIC SLIDES, 65 

of the root and fatness of the olive-tree ; boast not against the 
branches. 

Note. — .This rule may be applied, even when the hypothetical 
member occupies the last place in the sentence ; as in the follow- 
ing : — We are bound to set apart one day in seven for religious 
duties, if the fourth commandment is obligatory on us. 

2. His father dy'ing, and no heir being left except himself, he 
succeded to the estate. 

3. To be pure in heart, to be pious and benevolent, constitutes 
human happiness. 

4. My lord, I think I saw him yesternight. 

5. If we exercise upright principles, (and we cannot have them, 
unless we exercise them,) they must be perpetually on the increase. 

Note. — Here, the parenthetic clause, though expressing a perfect 
sense, cannot take the Falling Slide, because the sense of the mat- 
ter which immediately precedes it is suspended, and thus the mind 
is not prepared for the rest indicated by such a slide. 

6. So when the faithful pencil has designed 
Some bright idea of the master's mind ; 
Where a new world leaps out at his command, 
And ready nature waits upon his hand ; 
When the ripe colors soften and unite, 

And sweetly melt into just shade and light; 
When mellowing years their full perfection give, 
And the bold figure just begins to live, — 
The treacherous colors the fair art betray, 
And all the bright creation fades away !* 

In practice, a single exception to Rule II is sometimes 
heard, and is allowable, though rarely demanded : — When, 
in a sentence expressing a complete sense, the emphasis of 
the Rising Slide is given to some word or syllable preceding 
the last, the syllables which follow it may all take the dia- 

* It is not a little surprising, that Mr. Walker, and after him Mr. 
Knowles, have referred the Rising Slides in the reading of this pas- 
sage, to the influence of tender or pathetic sentiment. 

6* 



66 MANUAL OF ELOCUTION. 

tonic rise ; as the syllables which follow the rising emphasis 
in the following examples : — 

1. You are not left alone to climb the arduous ascent. 

2. It was an enemy, not -a. friend, who did this. 

The occasions for the recurrence of this form of emphatic 
distinction will be fully illustrated in the section on Em- 
phasis. 

There is another apparent exception to this Rule, which 
however is not real. It is, when the matter, which would 
express a perfect sense if it should stand alone, is closely 
connected with other matter ; and in reading may, or may 
not, take the Rising Slide, though it often does. Thus, 

1. There was a man in the land of U'z, whose name was Job. 

2. The dew of night falls, and the earth is refreshed. 

The words, in such cases, may be considered but as con- 
stituting part of a proposition, and thus as not coming un- 
der the rule. But separate these introductory clauses, so 
that they shall of themselves constitute entire propositions 
expressing a complete sense, and they will then take the 
Falling Slide. Thus,— 

There was a man of distinguished excellence in the land of U v z ; 
his name was Job. 

The dew of night falls ; and by its fall the earth is fertilised and 
refreshed. 

It is believed the learner will find these rules and re- 
marks sufficient for his purpose ; and that he could not, till 
he becomes acquainted with the principles of Emphasis, 
prosecute the subject further to advantage. 

II. Emphatic Slides. 
All the slides enumerated in this section as employed in 
speech, except that of the Second, may be used for pur- 



INTERROGATIVE INTONATION. 67 

poses of Emphasis. This subject will be found illustrated 
at some length, in Section III, Chapter II.— The employ- 
ment of the wider intervals of the Third or Fifth, instead 
of the Second, in the current melody, is inconsistent with 
dignified utterance, and is a very marked defect in delivery. 

III. Interrogative Intonation. 
Before leaving this section, we wish to see how its 
principles can be applied to the expression of Interroga- 
tion. The question is usually indicated by the form of the 
sentence ; but in order to exhibit the power of intonation 
alone, it is necessary to take a sentence which has not the 
interrogative form. Let the following passage be read as 
an imperative order ; — 

Give Brutus a statue with his ancestors ; 

and it will be perceived that each syllable takes the down- 
ward inflection. If now, without any change in phrase- 
ology, the same line be repeated with the rising slide 
of the third or fifth on each syllable, it will at once ap- 
pear to the ear to take the character of sneering interroga- 
tion. From this it may be confidently inferred, that the 
rising slide is the prime element in interrogation. This 
may be further illustrated by the following passage from 
the Coriolanus of Shakspeare. 

Serv. Where dwellest thou? 

Cor. Under the canopy. 

Serv. Under the canopy ? 

Cor. Ay. 

Serv. Where's that? 

Cor. In the city of kites and crows. 

Serv. In the city of kites and crows? 

But the rising inflection does not prevail throughout the 
whole of all interrogative sentences. To illustrate this, as 






68 MANUAL OF ELOCUTION. 

also to ascertain the law which regulates this matter, we 
will present the following questions selected at random. 

1. What night is this? 

2. Must I leave thee, Paradise ? 

3. What ! threat you me with telling of the king ? 

4. Sir, are you my father ? 

5. How can you say to me I am a king ? 

6. Who's there? 

7. Who ever knew the heavens menace so ? 

In the natural reading of these examples, it will be per- 
ceived that the second, third and fourth take the rising in- 
flection throughout, and close also with the rising slide ; 
while the others close with the falling. The characteristic 
element in those which take the rising inflection through- 
out, is the direct inquiry they contain ; by which we mean, 
that they are such questions as demand for an answer — yes, 
or no. The others, not admitting the answers, yes and no, 
may be called indirect questions. This first form of vocal 
movement we shall denominate the Thorough Interrogative 
Intonation, as opposed to the other, — which may be called 
the Partial. The rule then which we deduce from these 
principles maybe expressed thus; — The Direct Question 
takes the Thorough Interrogative Intonation, while the Indi- 
rect Question takes the Partial. 

These two forms of question may be presented to the 
eye thus : — 

Thorough Interrogative Intonation. 
What! threat you me with tell- ing of the king] 



^- 4 4 U4J3^ 



INTERROGATIVE INTONATION. 69 

Partial Interrogative Intonation. 
How can you say to me, I am a king? 



-^ j$- # — &- ^- 



This last form of the interrogation admits the use of the 
concrete slide of a third or fifth on one or a few of the syl- 
lables, while the rest, and particularly those near the close, 
take the melody of common discourse, and constitute a 
regular cadence. 

We add the following practical remarks : — 

1. In interrogation, the extent of the upward slide on 
those syllables that receive it, varies from the third to the 
octave, with the degree of earnestness with which the 
question is put. 

2. Some expressions which have the grammatical form 
of the direct question, as in earnest appeals, exclamatory 
sentences, and argument, are intended to express only 
positiveness of conviction ; and thus they take the partial in- 
tonation only. 

Examples. 
Judge me, ye Gods ! wrong I mine enemies? 
And if not so, how should I wrong my brother ? 

You all did see, that on the Lupercal, 
I thrice presented him a kingly crown, 
Which he did thrice refuse. Was this ambition ? 

He now appears before a jury of his country for redress. Will 
you deny him this redress ? 

Do you think that your conditions will be accepted 1 Can you 
even imagine they will be listened to ? 

Such interrogations open with a rising slide of a fifth or 
octave, but immediately change to the deep downward 



70 MANUAL OF ELOCUTION. 

concrete, or the direct wave — soon to be explained. This 
downward movement furnishes the appropriate expression 
of positive conviction, as the rising does of doubt and un- 
certainty. 

3. Even the Direct Question, if very long, and especi- 
ally if at the same time it concludes a paragraph or a dis- 
course, may take the Partial Intonation. 

4. In questions which admit the Thorough Intonation, 
though the syllables generally are pronounced with the 
rising concrete of a given interval which prevails through- 
out the whole, yet those which are emphatic may pass 
through a wider interval than the others. This will be 
illustrated under the head of Emphasis. 

5. The mere form in which the question is stated does 
not always determine whether it is Direct or Indirect. 
Thus, the question, — " Did you see him or his brother ?" — 
has two meanings, according as or is understood disjunc- 
tively or conjunctively. If the latter, the question is direct 
and takes the rising slide ; if the former it is indirect and 
takes the falling. — In this case, however, the first member 
always takes the intonation of the Direct Question. 

Though we have dwelt thus long on the Diatonic and 
Interrogative Slides, we are not prepared to affirm, that the 
sense is always or even generally dependent on these inflec- 
tions of the voice. Sometimes they do determine the sense ; 
but the English, the Scotch, the Irish and the Americans 
all use them differently and yet understand each other. In 
some portions of our own country, even the direct question 
universally receives only the partial interrogative intona- 
tion, — terminating with the falling slide, or perhaps the 
inverted wave of a second — soon to be described. Dif- 



WAVES OF THE VOICE. 71 

ferences in the use of these inflections, more perhaps than 
any thing else, mark the provincial peculiarities which 
characterize the speech, in different parts of our country. 
The rules here laid down, it is believed, correspond with 
the best usage of the country; and a conformity to such 
usage alone can guard the speaker against the charge of 
provincialism, or impropriety. 



SECTION VI. 

OF THE WAVES OF THE VOICE. 

The Rising and the Falling Slides are often united on 
the same long syllable, and this complex movement of the 
voice is called a Wave.* The parts of which it consists 
are called constituents. These upward and downward 
movements may pass through the same, or through different, 
intervals ; for example, the wave may be formed by the 
rising and falling third conjoined ; or by a rising third, 
passing into and being terminated by a falling fifth. This 
gives rise to the designation of waves as equal or unequal. 
"Whether equal or unequal, they may consist of two, three, 
or more constituents ; and this gives rise to the distinction 
of waves as single, double or continued. And whether con- 
sisting of constituents of equal or of unequal length, or of 
two constituents or more, the wave may commence with 
an ascending or descending slide. The wave commencing 
with an upward movement is called the Direct Wave, the 
other the Inverted Wave. 

When it is suggested that all the slides which we have 
described, varying from a semitone to an octave, enter as 

* This is called by Steele and Walker the circumflex accent 



72 MANUAL OF ELOCUTION. 

constituents into these waves, it will appear, that, in theory 
at least, the wave may be almost endlessly varied. It is 
found however, that in the practice of those who speak the 
English language, the variations employed are not very 
numerous, and of these the following are the most im- 
portant. 

The Equal Wave of the Semitone. — This cannot be re- 
presented to the eye in a manner to make the subject any 
more plain. If, on any long syllable, the learner will com- 
bine the Median Stress with the expression of pathetic or 
solemn sentiment, he cannot fail to give either the direct or 
inverted wave of the semitone. These are both heard in 
the slow utterance of the tender emotions, serving beau- 
tifully to vary this melody of the voice. 

The Equal Wave of the Second. — This movement of the 
voice, aside from the consideration of stress, may be repre- 

Direct. Inverted. sented to the eye thus ; — the heavy 
part simply marking the radical 
point, which may or may not be 






characterized by fulness of sound. Indeed the median stress 
rather than the radical prevails in the wave of the second. 
It is by the frequent recurrence of these waves, that grave 
discourse, even where the words cannot be attended to, is 
distinguished from the gay and sprightly. They occur on the 
syllables of long quantity, and, for the sake of variety the 
direct and the inverted are interchanged instinctively by a 
well-trained voice. Whenever the waves of the semitone 
or of the second become double, it is for the purpose of 
lengthening the quantity, on a word which is intended to 
be strongly marked. 

The Equal Wave of the Third. — This is often heard in 
ordinary spirited conversation. It may be represented to 



WAVES OF THE VOICE. 



73 



the eye, as may also the equal waves of the higher inter- 



vals, thus : — 



Of the Third. 
Direct. Inverted. 



Equal Waves. 

Of the Fifth. Of the Octave. 

Direct. Inverted. Direct. Inverted. 



k^M/ NM£5 pg 



The Waves of the Fifth and the Octave, as also the Un- 
equal Waves , are reserved for the expression of the stronger 
passions, as exhibited in dramatic dialogue, and in the 
higher efforts of the orator. Irony, scorn and strong sur- 
prise cannot be expressed without their aid. 

To aid the learner in acquiring the command of the vo- 
cal movement here called the Wave, the following illustra- 
tions are given, the substance of which is found in the 
Grammar of Elocution. 

" Pity the sorrows of a poor old man." 

If long quantity and a plaintive tone be given to the 
words "poor" and " old," in the foregoing example, they 
will exhibit the direct wave of the semitone : and if the 
word "man" receive a plaintive expression and extended 
quantity, and the voice be made to rise on the second 
part of the wave, it will show the inverted wave of the 
semitone. 

"Hail! holy light." 

If the word " hail" is uttered with long quantity, with a 
perceptible downward ending, and without any emphatic 
stress, it will show the direct equal wave of the second. 

"High on a throne of royal state." 

7 



74 MANUAL OF ELOCUTION. 

If this line be pronounced in a similar manner, it will 
exhibit the inverted equal wave of a second on the syllables 
"high," "throne," and "roy." 

" I said he was my friend." 

Let this sentence be slowly uttered, with long quantity 
upon " my," accompanied with such an emphasis as to 
contrast it with your — friend, and the word " my" will 
show the direct equal wave of a third. 

"Ah! is he your friend, then?" 
v Let this last sentence be uttered as a reply to the pre- 
ceding, and with an air of surprise, though with long 
quantity and a natural emphasis upon "your," and it will 
display the inverted equal wave of a third. 

" Yes, I said he was my friend." 

If this sentence be reiterated with a strong positive em- 
phasis upon " my," and with extended quantity, it will 
exhibit the direct equal wave of a fifth. 

" Is he solely your friend ?" 

By increasing the emphasis of surprise, making the in- 
terrogation more piercing, and extending the quantity of 
the word " your" in this sentence, the inverted equal wave 
of the fifth will be heard. 

If, in the sentence, " I said he was my friend," the word 
"my" be uttered with a strongly taunting and at the same 
time positive expression, that word will show the direct 
unequal wave. 

If, in the sentence, " Is he your friend ?" the word 
" your" be uttered with a strong expression of scorn and in- 
terrogation, it will exhibit the inverted unequal wave. 

When these waves have once become familiar to the 
ear, the voice may be trained to their execution, by com- 
bining them with the long vowel elements, or with any of 




FORCE OF VOICE. 75 

the combinations which admit of protracted quantity. The 
uses of these functions of the voice will be pointed out in 
the sections which treat of Emphasis and Expression, in 
Chapter II* 



SECTION VII. 

OF FORCE OF VOICE. 

By Force of Voice, we mean simply strength or power 
of voice. The lion has more force of voice than the dog. 
The sound of the bugle or the organ has more force than 
the flute. Great force of voice is not always needed ; but 

* Note to the Teacher. — The learner should, at this point, be 
subjected to something like the following- system of exercise. Let 
some one of the elements, say a, be selected, or some word suscepti- 
ble of long quantity, and the learner be required, without the aid of 
the teacher's voice, to pronounce it — 

1 st. With the Radical [Median or Vanishing] stress. 

2nd. On a high [or low] pitch. 

3rd. With the Falling [or Rising] Slide of the Second, [Third, 
Fifth, or Eighth.] 

4th. On the Equal Direct [or Inverted] Wave of the Second, 
[Third, or Fifth.] And let this exercise be continued on these sim- 
ple functions of the voice, at pleasure. 

Then let him be required to combine such of these functions as 
are susceptible of combination: as, for example, to pronounce the 
designated element — 

1st. With Radical Stress, and on the Low Pitch. 

2nd. With the Radical Stress, and with the Falling Slide of a 
Third. 

3rd. With the Median Stress, and in the Equal Inverted Wave 
of a Third. 

4th. With the Vanishing Stress, and the Rising Slide of a Fifth. 

5th. With Long Quantity, and on the Direct Wave of the Semi- 
tone, &c. 

This exercise may likewise be advantageously continued, till the 
learner has acquired a facility — not in imitating, but in executing 
for himself, under the teacher's direction, all these vocal functions, 
both singly and in combination. 



76 MANUAL OF ELOCUTION. 

to the speaker it is sometimes of infinite importance, while 
it cannot interfere with any other vocal function. To him 
who is called to address large assemblies, or to speak in the 
open air, a powerful voice gives the double advantage of 
making himself distinctly heard, and of exhibiting what is 
always strongly demanded by a popular audience — evi- 
dence of earnestness and sincerity. Its acquisition, then, 
should be among the first objects of him who would pre- 
pare for the practice of the orator's art. The capabilities 
of the human voice, in point of power, are rarely deve- 
loped, for the simple reason that they can be brought out 
only by education ; and education, in any proper sense of 
the term, is here rarely applied. The hand is trained to 
penmanship, and even the voice is sometimes slightly dis- 
ciplined in regard to some of its functions, by the teacher 
of music ; but who now thinks of giving the voice a full 
system of training for the high and responsible duties con- 
nected with oratory? Had it been thus in Greece, she 
would have had no Demosthenes: had it been thus in 
Rome, Cicero would have lived for nought. Unless per- 
chance we should except a very few of those trained for the 
stage, the practical speaker is not now to be found, who 
has been trained as was either of these men whose oratori- 
cal powers have made them immortal. 

If I mistake not, the learner has already thought that our 
exercises and suggestions for practice were becoming too 
numerous and too tedious. But there is no " royal road" 
to the orator's proud elevation. We suggest the system of 
elementary practice, because we know of no other in which 
the future orator can learn to execute the high principles of 
his art. It is a very different thing to judge of a good 
piece of workmanship in the handicraft arts, from what it 



FORCEOFVOICE. 77 

is to execute such a piece. There is the same difference 
between the mere theoretical and the practical orator ; — 
between him who has learned the principles of good speak- 
ing by study and by listening to lectures, and him who has 
been instructed on such a system as is here taught. 

In no respect is the voice more capable of improvement 
than in regard to its force ; and this may be combined with 
long or with short quantity, with all the kinds of stress, 
with every variety of pitch, and with all the slides and 
waves of the voice. Thus for the purpose of training this 
function of the voice, the learner may repeat all or any of 
the lessons suggested for practice in the preceding sections, 
only with greater fulness and energy. But while a careless 
and transient recurrence to these lessons will be of little 
service in developing the full powers of the voice, an inju- 
dicious exercise on them may produce permanent injury. 
An hour spent in vociferating the elements or syllabic 
combinations, and that perhaps on an improper pitch, or 
without due regard to the proper radical and vanishing 
movements of the voice, might with subsequent exposure 
of itself produce the results wc are preparing to guard 
the future speaker against. These exercises, when pro- 
perly conducted, have a twofold operation : first, they teach 
how the various functions of the voice can be employed 
the most successfully, and with the greatest ease ; and 
secondly, they habituate the voice to the exercise of its 
powers. That the greatest good however may result from 
the training here proposed, the following rules ought to be 
observed. 

1. Let the exercise be repeated daily, or perhaps twice 
each day, if it is found the voice will bear it. 

2. Let not the exercise at first be long continued, not 



78 MANUAL OF ELOCUTION. 

more than ten or fifteen minutes, — nor till any degree 
hoarseness is produced. 

3. Let not the voice at first be exercised to the full ex- 
tent of its powers ; nor the exercise be long continued, 
either on the highest or the lowest pitch of the voice. 

4. Special care should be used to guard against harsh- 
ness or hoarseness of voice in these exercises. The voice 
should be formed low down in the throat, the tongue being 
retracted and depressed, and the mouth sufficiently open to 
emit a smooth volume of sound. 

5. The articulation of every element employed in the 
exercise should be perfect. Austin in his Chironomia says, 
in regard to the articulation of words, " They are not to be 
hurried over ; nor precipitated syllable over syllable ; nor 
as it were melted together into a mass of confusion. They 
should be neither abridged nor prolonged ; nor swallowed, 
nor forced ; they should not be trailed, nor drawled, nor 
let to slip out carelessly, so as to drop unfinished. They 
are to be delivered out from the lips as beautiful coins 
newly issued from the mint, deeply and accurately im- 
pressed, perfectly finished, neatly struck by the proper 
organs, distinct, in due succession, and of due weight." 
But the articulation of the words depends on the articula- 
tion of the elements which compose them. 

6. When in these exercises force is connected with long 
quantity, whether radical or median stress is employed, 
special care should be given to the utterance of the vanish. 
The gentle and gradual decline of sound, as heard in the 
finely executed vanish, delights the ear scarcely less than the 
higher graces attending musical execution. 

7. At first, these exercises should be remitted during a 
period of feeble health, or during the hoarseness attendant 






FORCE OF VOICE. 79 

on a cold ; or else abated in energy, so as not greatly to 
fatigue the vocal organs. With a little' familiarity however, 
and special care to preserve the erect position, and to use 
chiefly for the production of sound the abdominal and in- 
tercostal muscles, this will be found a most healthful exer- 
cise. It should not follow immediately a hearty meal, 
nor be preceded or followed by stimulating drinks ; nor, 
if the exercise has been violent, should it be followed by a 
careless exposure to the cold or damp air. 

8. There is a period of youth, when the voice begins to 
break and to assume the manly tone, during which no vio- 
lent exertion of the voice should be made. While all the 
other exercises of this Manual may be practiced during 
this period, those of this section should be reserved till 
the voice becomes confirmed and established. 

9. Any successful effort to attain great power of voice 
must presuppose an observance of all the rules essential to 
the general health. Intemperance in drink, the use of to- 
bacco, or excess of any kind, injures the voice, not less 
than the other powers of both body and mind. 

But there is an exercise still to be suggested, which 
aids perhaps in a higher degree the acquisition of a powerful 
voice, than any of those already proposed. It is on what 
Dr. Rush calls the explosive power of the vowel elements. 
To commence this exercise, let each of these elements as 
presented in Table I, be uttered with a suddenness like 
that presented in the abrupt vocality heard in the cough. 
The organs of speech must be open and free from com- 
pression, according to one of the foregoing directions, and 
each sound must be produced by a single instantaneous 
effort of the voice ; which is neither more nor less than the 
forcible application of the radical stress, with the shortest 






80 MANUAL OF ELOCUTION. 

possible quantity. And when a facility of thus producing 
these sounds has been acquired, let the learner repeat 
them with increasing degrees of force on all the different 
degrees of pitch from the lowest to the highest of which 
his voice has the command. This exercise may be con- 
tinued and varied by using Table IV, and extending it by 
adding to the foot of each vertical column the six short 
vowel elements as found in Table I. Then let it be re- 
peated, sometimes giving the shortest possible quantity 
both to consonants and vowels ; and at others, protracting 
the consonants as much as possible, and bursting w T ith 
sudden full explosive force on the vowel sounds, giving 
them as before the shortest possible quantity. 

Table V, extended as it has just been proposed to ex- 
tend Table IV, may also be used for practice, never at- 
tempting however to protract the atonic elements. 

Energy and perseverance can alone overcome difficulties, 
and ft seems the decree of Heaven that real value cannot 
be procured but by labor. If the learner supposes that 
the full benefits proposed by this and the preceding exer- 
cises are to be obtained by the few occasional exercises 
of the lecture room, or in an ordinary course of lessons by 
a master, he has mistaken the nature of his undertaking. 
It is not in this way that the arts of penmanship, of fencing, 
or horsemanship are brought to their perfection. The 
business of the teacher here is to direct the learner how to 
educate his own powers ; and this discipline, conducted in 
the way we have proposed, may be advantageously carried 
on for years. And what would men think of the clergy- 
man, the lawyer, or the physician, who should count his 
education finished, when he entered on the practice of his 
profession ! 



QUALITY OF THE VOICE. 81 

Before leaving this subject, it may be suggested that 
loud and rapid reading or speaking also furnishes a very 
valuable kind of training for the purpose of giving force 
and energy to the voice. These cannot however fully 
supply the lack of a prior discipline of the voice on the 
elementary sounds of our language, and on the simple 
combination of these elements ; since without this the 
enunciation will be apt to be indistinct. A few speakers 
have acquired wonderful power of voice, mainly by the 
exercise of speaking. Dr, Porter says, — "The habit of 
speaking gave to the utterance of Garrick so wonderful an 
energy, that even his underkey was distinctly audible to 
ten thousand people. In the same way the French mis- 
sionary Bridaine brought his vocal powers to such strength, 
as to be easily heard by ten thousand persons, in the open 
air; and twice this number of listening auditors were 
sometimes addressed by Whitefield." Thousands, less for- 
tunate than these, have broken down in the attempt to ac- 
quire this power by other means than we here recommend, 
and have been compelled to retire from public life, or have 
gone prematurely to their graves. 



SECTION VIII. 

OF THE QUALITY OF THE VOICE. 

The Quality of the voice is usually designated by such 
terms as rough, smooth, harsh, soft, full, slender, musical, 
shrill, nasal, &c. Without going into any definition of 
these terms, we may remark that the quality of the voice, 
as regards all its general characters of excellence, cannot 
but be improved by the exercises and practice suggested 
in the preceding sections. In this section, instead of going 






82 MANUAL OF ELOCUTION. 

into an explanation of these popular terms, it will better 
subserve the interests of the learner to examine the quality 
of the voice under the following heads ; — the Orotund, the 
Tremor, the Aspiration, the Guttural, the Falsette, and the 
Whisper. 

1. The Orotund, — The quality of voice implied in this 
term is possessed naturally by some, but more frequently 
has to be acquired by exercise and practice. It is pos- 
sessed in no degree by a very large part even of public 
speakers, and in very different degrees by actors and ora- 
tors of eminence. When possessed, it presents the follow- 
ing advantages, as set forth by Dr. Rush. First, The mere 
sound is more musical than that of the common voice. 
Secondly, It is fuller in volume than the common voice ; 
and as its smooth musical quality gives a delicate attenua- 
tion to the vanishing movement, its fulness, with no less 
appropriate effect, displays the stronger body of the radical. 
Thirdly, It has a pureness of vocality that gives distinct- 
ness to pronunciation. Fourthly, It has a greater degree 
of strength than the common voice. Fifthly, From the 
discipline of cultivation it is more under command than the 
common voice ; and is consequently more efficient and pre- 
cise in the production of long quantity, in varying the 
degrees of force, and in fulfilling all the other purposes of 
expressive intonation. Sixthly, It is the only kind of 
voice appropriate to the master style of epic and dramatic 
reading. It is the only voice capable of fulfilling the ma- 
jesty of Shakspeare and Milton. Through it alone the 
actor consummates the outward sign of the dignity and 
energy of his conceptions. Finally, Its use does not 
destroy the ability to use at will the common voice ; their 
contrast may therefore throw a sort of vocal light and shade, 



THE ASPIRATION. 83 

so to speak, over the other means of oratorical coloring and 
design. 

The practice which we have recommended in the pre- 
ceding sections — particularly the last, cannot fail to secure 
to the learner this quality of voice, in a higher or lower de- 
gree. 

2. The Tremor. — This expresses the tremulous move- 
ments of the voice heard in the act of laughing and of 
crying, and is naturally associated with the language of 
mirth and of sorrow. It is an important function of the 
voice, and may be readily caught by the learner from the 
voice of the teacher, from the feigned effort of laughing, 
or from the affected expression of a feeling of mirthfulness 
or of deep sorrow. This function may be practiced on any 
element, syllable, or word of long quantity : but when ac- 
quired the learner should recollect that it has its peculiar 
signincancy, and can never be properly introduced into 
ordinary delivery, when the feelings it expresses are want- 
ing. Indeed, like the other most expressive elements of 
speech, it requires to be used with great caution. 

3. The Aspiration. — The basis of the quality of voice 
here designated is found in the element h, which has been 
pronounced to be only a breathing. In the sigh we hear 
the sound of this single element associated with quantity, 
and can mark its radical and vanishing movement. There 
are several other elements which, admitting only of a whis- 
per, are called aspirates ; but these have a character and ex- 
pression of their own, and are not to be confounded with 
the form of aspiration under discussion. When we speak 
of this as a quality of the voice, it is implied that this ele- 
ment is capable of so blending with the other elements 
employed in speech, as to give a distinct character to the 



84 MANUAL OF ELOCUTION. 

utterance. For example, let the following lines be read 
with suppressed force, and with an expression of apprehen- 
sion, or fear: — 

" Hah ! dost thou not see by the moon's trembling light; 
Directing his steps, where advances a knight, 

His eye big with vengeance and fate 1" 

If the learner does not on this passage spontaneously ex- 
press the quality of voice here described, it will at least 
indicate to him one of the principal sentiments of which this 
is the symbol. 

If he succeed, he will find that such words as " dost," 
"moon," "trembling," "vengeance," and "fate," are 
uttered as though spelled d/iost, m/zoon, tr/iembling, yhen- 
geance, f/zate ; and this process of aspiration is carried on 
according as the feeling rises, till the voice may be almost 
or entirely sunk in whispers. — This function of the voice 
requires to be used with caution. 

4. The Guttural. — The quality of the voice here referred 
to is thus designated, because it is formed in the throat. It 
should never be employed in the current of discourse, nor 
as a function of the voice does it ever stand alone. It is 
usually combined with the radical or vanishing stress, and 
the aspiration ; and is thus used on the word " detestable," 
in the following passage : — 

" Nothing I'll bear from thee 

But nakedness, thou detestable town." 

Any words of the same general import, such as despica- 
ble, dastardly, contemptible, scorn, &c, uttered with an 
affectation of the feeling which the use of them often im- 
plies, will for the sake of practice on this function bear the 
same modes of pronunciation. Dr. Rush says, " when 
this element is compounded with the highest powers of 



THE MELODIES OF THE VOICE. 85 

stress and aspiration, it produces the most impulsive blast 
of speech." 

5. The Falsette. — This term is used and is well under- 
stood in vocal music, as indicating the kind of voice em- 
ployed by the singer when he wishes to rise above the 
compass of his natural voice. This admits of cultiva- 
tion and may by a little practice be employed on many 
of the notes which the natural voice can reach. In speech 
however it is always a defect, either heard in the current 
melody of discourse, or in the breaking of the natural voice 
of the public speaker. It is not uncommon in the voices 
of women ; and men of feeble voices, particularly if they 
have occasion to speak to large assemblies, are in danger 
of falling into it. It has its peculiar expression in the 
whine of peevishness, the high tremulous pitch of mirth, 
and in the scream of terror and of pain. 

6. The Whisper. — This may be called a kind of voice, 
but needs no illustration here. It is the symbol of secresy. 

The voice generally used in common conversation, and 
which differs from any which we have described as em- 
ployed to give effect to delivery, may be called the natural 
voice. 



SECTION IX. 

OF THE MELODIES OF THE VOICE. 

In speaking of the slides of the voice, in the section on 
Pitch, the Slide of the Second was appropriated to simple 
narrative and to unimpassioned discourse. The object of 
this section is to develope the phenomena which occur, 
when the movements of the voice extend only to intervals 
of a single tone, as is the case always where neither feel- 

8 






86 MANUAL OF ELOCUTION. 

ing nor emphasis enters into the expression. As the con- 
crete movement of the voice on the successive syllables is 
made through the interval of a tone, so the discrete move- 
ment from syllable to syllable is made only through the 
same space. This may be presented to the eye by calling 
again to our aid the musical scale. 





—4 




^ 


ff 






tf 




eg 


4 




4 






4 


4 




/ 




With 


- in 


a 


long 


re - 


cess 

a- 


there 


lies 


a 


bay, 




ff 


df 


4 


4 




4 


rf 




r-f 


a 
















• 


Of 






& 




ef 


4 


& 


—& 


4 




& 


4 




4 












rf 




An 


isl - 


and 


shades 


it 


from 


the 


rol - 


ling 


sea, 






4 


tf 


4 


i£ 




& 


^ 


^ 


<# 


4 


m 


sp 






4 












t€ 




d 




<g 










4 




4 




4 








«? 




And 


forms 


a 


port 


se - 


cure 


for 


ships 


to 


ride. 


@$— 


mW 


4 


" 


4 


>*r 


4 


ci' 


«(f 




"®f mm mm- ^ 



The learner, especially if accustomed to read music, will 
readily catch the melody of the two readings here sug- 
gested ; and can satisfy himself that others might still be 
given which would not differ from what we often hear in 



PHRASES OF MELODY. 



87 



plain discourse. They both contain the conditions pro- 
posed as to the concrete and discrete changes of pitch ; 
and however the order of the concrete tones may at first 
seem to vary, they will all be found reducible to the six 
following combinations. 

Where two or more successive notes occupy the same 
place of radical pitch, it is called the phrase of the Mono- 
tone. 

Where, of two successive notes, the one is next in radi- 
cal pitch above the other, the phrase is called the Rising 
Ditone ; and where next below, the Falling Ditone. 

Where the radicals of three successive notes ascend, it 
is called the Rising Tritone, and where they descend, the 
Falling Tritone. 

Where there is a succession of three or more notes alter- 
nately a tone above or below each other, it is called the 
Alternate Phrase. 

i Where the falling tritone occurs at the end of a sen- 
tence, it is called the Triad of the Cadence. 

These several Phrases of Melody are thus presented by 
Dr. Rush, on the following lines. 



That quar - ter 


most the 


skil-ful Greeks an - noy ; 


flf <f # 


d $ 


g 4 


4 w - 











Monotone. Falling Ditone. Rising Tritone. Rising Ditone. 



Where yon wild 


fig trees join the 


walls of Troy. 


U * € * 1 


__*# & *& if 


df ^ 


i «f . .1 •' 





Falling Tritone. 



Alternation. 



Triad of the Cadence. 



88 MANUAL OF ELOCUTION. 

Thus, even for the expression of plain thought, has na- 
ture furnished an interesting and beautiful variety in the 
elements provided for the use of the human voice. Yet 
under the influence of bad habits, this rich provision is 
often entirely disregarded, and the ear is literally pained 
by listening to the sentiments of those who might be good 
speakers, doled out in an infinitely extended monotone, or 
varied only to exhibit at set intervals the uniform recur- 
rence of the same phrases of melody, — producing thus a 
mechanical variety scarcely less inexpressive, or less offen- 
sive to the improved ear than the dullest monotony. 

We now proceed to enumerate some of the more simple 
Melodies of the Voice, and to show how they are consti- 
tuted. 

1. The Diatonic Melody. — This is produced by the 
varied succession of all the phrases- just enumerated ; and 
is the only one adapted to the expression of plain 
thought, interrupted neither by interrogation, emphasis, 
nor emotion. 

2. The Melody of the Monotone. — This is produced 
whenever the Phrase of the Monotone predominates, as it 
naturally and properly does in all dignified and solemn 
subjects. — When the speaker rises near to the top of his 
Natural Voice, his utterance is apt to degenerate into the 
monotone, simply because he cannot take a higher pitch 
without falling into the Falsette. And, in passing, we may 
express the belief, that this defective intonation of the 
voice, from whatever cause it arises, produces more of 
disease in the vocal organs, and brings more speakers to 
an untimely grave, than all the causes connected with the 
healthful use of these organs, and with necessary fatigue 
and exposure conjoined, 



MELODIES OF THE VOICE. 89 

3. The Melody of the Alternate Phrase. — This designa- 
tion is applied to the melody, where the Alternate Phrase 
predominates. It is well suited to the expression of the 
higher passions, and to facetiousness. 

4. The Melody of the Cadence. — This indicates the me- 
lody at the close of sentences ; and in unimpassioned dis- 
course, it is usually produced by the Falling Tritone, — the 
last constituent, at least, taking the downward slide. — This 
subject will be treated at length in another place. 

To these may be added two other forms of melody not 
arising immediately out of the principles laid down in this 
section. 

5. The Chromatic Melody. — This designates the plain- 
tive melody in which there is a predominance of the 
semitone. The term is borrowed from music. 

6. The Broken Melody. — This marks the peculiar ex- 
pression of pain, deep grief, and of extreme exhaustion or 
weakness ; where the current melody, whatever it may be, 
is broken by frequent pauses, beyond what the grammatical 
connection requires or allows. 

Here we shall close what may be called the technical 
part of our work. We have now presented all the elements, 
so far as the voice is concerned, which we deem essential 
to an effective elocution ; and most of those which are de- 
veloped in perfect oratory. And the learner who has gone 
carefully over the preceding pages, successfully mastering 
the difficulties he has had to meet, and training his voice 
by the exercises which have been suggested for his prac- 
tice, may feel assured that the course thus commenced will 
soon place at his command all the vocal functions necessary 
for the expression of every passion of the human heart, and 

8* 



90 MANUAL OF ELOCUTION.' 

for the execution of whatever a good taste can dictate as 
excellent in the highest efforts of the finished orator. 

That these vocal functions may again be brought before 
the mind and with some additional suggestions, we shall 
close this chapter with a brief enumeration of such as are 
hereafter to be applied to the execution of the principles of 
the orator's art. 



SECTION X. 

RECAPITULATION. 

In Section I, after enumerating the alphabetic elements, 
the Vocule was referred to as an incident connected with 
the utterance of several of the consonants, and of the mutes 
in particular. It will also be heard in the utterance of all 
words terminating with one of these elements, and will be- 
come more full and distinct just in proportion to the energy 
with which the word is pronounced. From this it appears, 
that the vocule is not only a means of giving emphasis, 
but is the exact measure of the emphasis given on such 
words. 

It is the improper use of this element that is sometimes 
heard at the close of each sentence, most frequently in the 
language of prayer. Thus employed it is a great defect ; 
and is always the result of habit, which generally arises 
from a slovenly mode of articulation, but may however 
have its origin in the imitation of some bad model. 

Section II is devoted exclusively to practice for the 
purpose of acquiring a distinct and ready articulation. 

In Section III, Time as appropriated to syllables was 
treated as long or short ; but it should be borne in mind 



RECAPITULATION. 91 

that Quantity, which is but another term for Time, varies 
from the most hurried articulation of the syllable, to the 
most protracted note implied in the term long quantity. 
Syllables are called Indefinite, Mutable, and Immutable, 
according as they are more or less susceptible of quantity. 
This is an important function of the voice ; and is always 
employed in connection with others. When long quantity- 
is used to express sentiments which require short time, its 
employment is characterized as Drawling. 

In Section IV, Stress was considered under the designa- 
tions Radical, Median, Vanishing and Compound. The 
last three require long quantity for their execution; and 
they are all supposed to be symbols fitted by nature to be 
the representatives of distinct emotions and passions. To 
these was added the Loud Concrete employed in accent. — 
No form of stress is perhaps so frequently misapplied as 
the Vanishing. This as a fault is most frequently heard in 
the pronunciation of the Irish. 

In Section V, Pitch was the term used to represent the 
movements of the voice with reference to the musical scale ; 
and the changes in pitch as heard in speech, are limited 
only by the compass of the natural voice of the speaker. — 
In common reading, and in ordinary discourse, what may 
properly be called the Middle Pitch of the voice is em- 
ployed ; and this is the note also on which sermons and 
public addresses should be commenced, so as to allow an 
elevation of pitch, as the speaker becomes warm in his 
subject, without the danger of transcending the compass 
of his natural voice. 

The Diatonic Scale was said to consist of eight sounds 
either in an ascending or descending series, embracing 
seven Proximate Intervals, five of which are Tones, and 



92 MANUAL OF ELOCUTION. 

two Semitones. Each sound is called a Note ; and the 
changes of pitch from any one note to another are either 
Discrete or Concrete, and may be either rising or falling. 
Concrete Changes of Pitch are called Slides ; and of these 
movements there are appropriated to speech the slides 
through five different intervals, — the Semitone, the Second, 
the Third, the Fifth, and the Octave. The command of 
all these slides is essential to an effective elocution ; and 
especially the higher, as they occupy a prominent place 
among the symbols of emotion, and properly constitute the 
lights and shades of discourse. — The Semitone, when mis- 
applied, gives origin to the fault called Whining. 

In this section the learner was introduced successively 
to the Diatonic Slides — those which belong to common 
discourse, and which distinguish speech from song ; to 
the Emphatic Slides, employed for the purposes of Em- 
phasis ; and to the Interrogative Intonation, which was 
said to depend on the rising slide. This Intonation is 
called Thorough, when the question is direct, and the 
rising slide extends to each syllable of the question ; and 
Partial, when the question is indirect, and the interrogation 
closes with the downward slide. — We may here repeat the 
important practical remark, that in reading or speaking, 
when the slide is downward, the radical point of the 
movement, except when employed in the cadence, should 
always be struck above, and in case of the emphatic 
slides, considerably above, the key of the current melody. 
The attempt to give the downward concrete from the line 
of the current melody constitutes one of the most common 
errors, particularly in reading. 

In Section VI, the Waves or circumflex movements of 
the voice are fully discussed. They are considered first as 



RECAPITULATION. 93 

Equal and Unequal, according to the relative length of the 
different constituents. These, then, are either Single, 
Double, or Continued, according to the number of consti- 
tuents which enter into them. And all of these may be 
varied by giving to the first constituent an upward or a 
downward inflection, which gives rise to the designation 
of waves as Direct and Inverted. It is believed that these 
distinctions in the form of the wave are founded in nature, 
and that they are all heard in the delivery of accomplished 
speakers. 

As to the intervals to which these waves extend, it is 
obvious that the only limit fixed by the capabilities of na- 
ture is the compass of the voice. Nature however does 
not always work to the full extent of her powers, but gra- 
duates the application of those powers to the wants of the 
case. So it seems to be here. Perhaps the wave never 
extends in any of its constituents beyond the octave, nor 
does it usually exceed the interval of the third. 

Though so essential to the expression of its appropriate 
sentiment, the learner should be reminded that even this 
element cannot be indiscriminately used. Dr. Barber has 
remarked of this, " that it is incompatible with a sustained 
impression of dignity ;" and thus that "persons prone to 
the circumflex, can never read Milton or Shakspeare well." 
By the same fault the dignity of the Holy Scriptures may 
be obscured ; and thus it is, that their sacred truths but too 
often reach only the ear, even when read amidst all that is 
impressive connected with the sanctuary of God. — This 
element occurs as a fault in the colloquial dialect of New 
England, where the waves are often heard, instead of the 
simple rising and falling slides. 



94 MANUAL OF ELOCUTION. 

Section VII is devoted to the improvement of the voice 
with reference to Force. In practice, great force of voice 
is generally connected with elevation of pitch; and thus 
these elements though entirely distinct are often con- 
founded with each other. The terms piano and forte, in 
music, have no reference to key or pitch, but refer to force 
alone. Neither great force nor a high pitch are at all times 
demanded in delivery ; indeed these are never required at 
the opening of any ordinary address. The best practical 
rule for the speaker as to force, is — to commence as though 
addressing a person occupying about the middle of his 
audience ; thus avoiding the consequences of excessive 
efforts of the voice too long continued, and at the same 
time leaving; room for such increase of force as sentiment 
may demand. 

Force of voice is the principal element in what is called 
Ranting. It is however generally accompanied by other 
excesses — violence in the use of the radical or vanishing 
stress, or too high a pitch. And when from such causes, 
the utterance of the speaker becomes obviously difficult, 
the interest of his audience will soon become that of sym- 
pathy for himself, when they can be expected to have little 
feeling but that of anxiety for his relief and their own. 

In Section VIII, the learner is presented with the voice 
in which conversation is usually carried on, under the de- 
signation of the Natural Voice. The full development of 
the vocal powers essential to the higher displays of a per- 
fect oratory, and which is acquired only by a system of 
training, constitutes what is called the Orotund, — the kind 
of voice, it may be remarked, by the aid of which some of 
the masters of song charm and astonish an admiring audi- 
ence. The other kinds of voice occasionally used and with 



RECAPITULATION. 95 

great effect are the Tremor, the Aspiration, the Guttural, 
the Falsette, and the Whisper. 

It is seen in Section IX, that by a careful analysis of the 
speaking voice, its movements can be measured and set to 
the musical scale ; and that however various the combina- 
tions of these vocal movements may at first appear, they 
may readily be reduced to six, called Phrases of Melody. 
These are the Monotone, the Rising and Falling Ditone, 
the Rising and Falling Tritone, and the Alternate Phrase. 
By a more careful analysis, we ascertain that some of the 
simpler styles of delivery take their character from the pre- 
dominance of some one of these phrases of melody. Thus 
we have the Diatonic Melody, the Melody of the Monotone, 
of the Alternate Phrase, and of the Cadence ; and to these 
are added the Chromatic Melody which arises from the 
predominance of the Semitone, and the Broken Melody. 

The Mechanical Variety in the employment of the Phrases 
of Melody, referred to in this section, is often rendered still 
more offensive, by being combined with a corresponding 
variety in pitch and force. Thus, sentences are sometimes 
successively commenced on a high note and with a full 
voice, which however gradually falls and dies away in force, 
till it becomes nearly inaudible ; and at the same time the 
melody will almost necessarily be mechanically varied. — 
The learner will infer from this, that errors and faults of 
delivery, not less than excellences, admit of combination ; 
and indeed he may at this point be reminded, that such 
faults as these rarely occur single. These faults thus oc- 
curring both single and in combination, how varied are the 
means of deforming the beautiful simplicity of nature's 
workmanship ! 

We close this enumeration of the elements of the speak- 



96 MANUAL OF ELOCUTION. 

ing voice with the single remark, that whatever of intricacy 
or of complexity has appeared in this chapter, it has not 
been produced by us. 

Speech is the characteristic of man. Nature has been 
profuse in those gifts which are connected with this divine 
power. The learner can find nothing here of our own, or 
of invention. If indeed he finds here delineated all the 
resources which nature has placed at man's command, it is 
perhaps more than we ought to hope. We shall see how- 
ever, as we proceed with the next chapter, that even with 
these resources the power and variety of human expression 
may become almost infinite. 



PRELIMINARY REMARKS. 97 

CHAPTER II. 

PRACTICAL APPLICATION OF PRINCIPLES. 



SECTION I. 

PRELIMINARY REMARKS. 

We have now presented to the reader what we deem to 
be the most important functions of the speaking voice. 
These are not matters of invention, nor can any of the ele- 
ments of effective delivery be properly such. They must 
be dictated by nature herself, and must be drawn out from 
her great store-house. When by analysis we have disco- 
vered and examined them, and by practice and familiarity 
have made them our own, we then ourselves become mas- 
ters of the resources of nature. 

The exercises of the foregoing chapter have had refer- 
ence chiefly to the mechanical part of the orator's art ; still 
we have as yet little more than presented the learner with 
the implements of his future trade. The principal office of 
Elocution remains, — which is, to teach their use — to teach 
the application of these principles to practice. And then, 
if the organs of speech, or indeed any of the vocal organs, are 
defective, even the mechanical part cannot be performed ; 
but if they are perfect, and yet there is a defective intel- 
lect, a bad taste, or a feeble will, they cannot make a per- 
fect orator. Great excellence in oratory must doubtless 
have as a basis a well-balanced mind : — an intellect capa- 
ble of a full development, sensibilities lively and suscep- 
tible of powerful action, and the elements of a will ade- 

9 



98 MANUAL OF ELOCUTION. 

quate to the control and regulation of all the powers of the 
mind. The possession of these must be accompanied with 
judicious and various exercise : the mind must be stored 
with knowledge, the reasoning power improved, the judg- 
ment matured and perfected, the powers of invention and 
memory strengthened, and the imagination cultivated and 
chastened ; the original susceptibility of emotion must be 
kept alive and a good taste grafted thereon ; and the will 
must be trained to a perfect self-possession. If to these 
natural powers, thus trained, we add a knowledge of human 
nature, a command of language, a sound body and a good 
moral character, little can be wanting — but the power of 
mechanical execution. 

The lessons of this chapter, it is believed, will have a 
tendency further to discipline the voice, at the same time 
that they improve the judgment, and chasten and correct 
the taste. The attention of the learner will be successively 
called to Accent, Emphasis, Expression, the Drifts of Me- 
lody, Transition, and Cadence. 



SECTION II. 

OF ACCENT. 

Accent consists in distinguishing one or more syllables 
of a word from the others, by some peculiarity in the utter- 
ance ; and such are the laws of the English language, that 
every word which consists of more than one syllable, has 
at least one to be thus characterized, whether uttered singly 
or in current discourse. Accent then must be given irre- 
spective of feeling or expression ; and hence may be de- 
fined the inexpressive distinction made between the syllables 



OFACCENT. 99 

of a word. This obviously plays but a subordinate part 
in speech ; but yet it is a great source of variety, at the 
same time that it is the principal instrument in our versifi- 
cation. 

In determining what syllables are to be marked by ac- 
cent, taste or feeling has nothing to do ; this is settled by 
usage. Words however, spelled in the same way but 
having different meanings, often have the place of their 
accent changed: Thus desert, a wilderness; desert', 
merit or demerit ; — con'duct, behavior ; conduct', to lead 
or manage. And so of many others. But though good 
taste has nothing to do with determining what syllables are 
to receive the accent, it has much to do with the manner 
in which they are to be thus distinguished. 

There are three ways in which accent may be given ; by 
extending the natural time of the syllable, by giving it 
throughout more than its natural force, and by laying a 
stress on the radical point of the syllable. Here we are 
presented with time, and two of the forms of stress, be- 
fore explained, to wit, the loud concrete and the radical, 
as elements which may be used in accent. The three forms 
of accent thus defined may be designated as the Temporal, 
the Forcible, and the Radical. The Temporal accent is 
confined to syllables of indefinite quantity ; but since in 
English the accented syllables are generally the longest in 
the word, this form of accent in current speaking and reading 
is the most common. The accent of force may be given 
to all but the immutable syllables, and to these the Radical 
accent is specially appropriated. 



100 



MANUAL OF ELOCUTION. 



1. Temporal Accent. 
~Be-hav-ior. 
dw-M. 
A\-arm. 
J5e-lieve. 
is/-and. 
Be-Aoi>e. 
Je-ru-sa-lerrii 
A-rouse. 
Be-fool. 
En-joy. 



Examples. 
2. Forcible Accent. 3. Radical Accent. 

Hate-M. At-titu&e. 

06-ject. Be-seMnent. 

Em-bark. Tick-\e. 

Pro-ceed. Bot-ile. 

IVight-ful. ZZMer-ance. 

Dis-robe. Fool-lock. 

Con-elude. Fig-tiee. 

A-bout. En-ad. 

Eoot-ed. Em-bit-ter. 

An-oint. A-bul-ment. 

The principal point to be observed here is, that the Tem- 
poral accent is more melodious than either of the others, 
while the Radical accent is least agreeable of the three. 
To substitute either of the others for the first is, then, ob- 
viously a violation of melody ; and the last should be 
confined to immutable syllables. It is a great accomplish- 
ment in the poet, so to arrange his verses that the accent 
shall in all cases be that of quantity ; and just so far as he 
approaches to this, will his lines, when properly read, flow 
softly and strike musically upon the ear. But even this 
excellence of an author might be annulled by the defective 
mode of giving the accent, on the part of the reader. To 
him then who is found inclined to substitute either of the 
others for the Temporal accent, set exercises should be as- 
signed in the reading of dignified prose and verse. 



SECTION III. 

OF EMPHASIS. 

While accent is employed without regard to feeling or ex- 
pression, Emphasis on the contrary implies emotion. Em- 



EMPHASIS. 101 

phasis like accent is a stress laid on syllables, and usually 
on the same syllables which take the accent. "When how- 
ever the claims of accent come into conflict with those of 
emphasis, the former must yield ; as " He must increase, 
but I must decrease." " This mortal shall put on immor- 
tality." Of the two, then, it is obvious that Emphasis 
holds the higher rank. 

The following are the purposes for which Emphasis is 
mainly used. First, to distinguish words which are spe- 
cially significant, either in themselves considered, or from 
the relation in which they stand. Secondly, to mark the 
antithetic relation existing between the words composing a 
sentence, or the ideas embraced in it. Thirdly, to make 
the sense of an elliptical sentence obvious, as addressed to 
the ear ; and fourthly to mark the syntax, in cases where 
words holding a close grammatical relation are separated 
by parentheses and interposed clauses. The occasions for 
emphasis then are of constant recurrence ;— either of these 
circumstances serving as a sufficient reason for its use. 
And emphasis is often required on several words in succes- 
sion, constituting a phrase or member of a sentence. How 
then can emphasis be defined ? In what does it consist ? 
and what are the means by which it is executed ? 

Emphasis may be defined — The Expressive but occa- 
sional distinction of syllables, and consequently of the words 
of which they form a part. The degree of distinction 
which is essential to constitute emphasis but slightly ex- 
ceeds the natural accent ; but the higher forms of emphasis 
are strongly marked, and by whatever means this distinc- 
tion is imparted to the word, its character cannot be mis- 
taken. 

The dash placed under the word is the visible symbol 



102 MANUAL OF ELOCUTION. 

of emphasis in writing, as a change of type is in printing; 
the italic letter marking the slighter degrees of emphasis, 
and the capital the stronger. Good taste directs that these 
symbols which are addressed to the eye should rarely be 
used : and thus it is left to the discrimination of the reader 
alone to determine the place of the emphasis, as well as 
the kind of emphasis to be employed. 

The object of emphasis being to distinguish some words 
from others for the purpose of giving them more import- 
ance in utterance, it is clear that whatever will serve to 
arrest the ear and fix the attention upon a word performs 
this office ; and this may be done by the use of any of the 
following elements, explained in the last chapter ; — to wit, 
Time, the various kinds of Stress, Pitch both concrete and 
discrete, the Waves, Force, and several of the modifica- 
tions of Quality, as the term is applied to the voice. We 
proceed to give a few examples of these different kinds of 
emphasis, in the order in which the elements employed 
were introduced to the learner, in the last chapter. And 
here the fact must force itself upon the attention, that if 
emphasis can be given in so varied a manner, all apology 
for monotony in spirited delivery is at once removed. In 
no department of observation do we find that nature has 
lavished her gifts in greater profusion, than in furnishing 
the materials of an effective delivery. 

I. Temporal Emphasis. 

The element of Time or Quantity, though never discon- 
nected from all other elements which contribute to empha- 
sis, is yet the predominant characteristic in the expression 
of serious dignity. It can be given only on syllables 
which admit of indefinite extension. 



EMPHASIS OF STRESS. 103 

Examples.* 

1. Roll on, thou deep and dark blue ocean—ro//. 

2. Nine times the space that measures day and night 
To mortal men, he with his horrid crew- 
Lay vanquished. 

3. For soon expect to feel 
His tkun-der on thy head, de-rowr-ing fire. 
Then who created thee lamenting learn, 
When who can wn-create thee thou shalt know. 

. So spake the seraph Abdiel, faithful found 

Among the faithless, faithful on-\y he. 

II. Emphasis of Stress. 
Among the modes of distinguishing syllables are the 
different modes of stress ; and these are varied both with 
the sentiment, and with the character of the syllable on 
which the stress is to be employed 

Examples. 
Radical Emphasis. — This form of Emphasis is suited to 
the expression of anger and all the violent emotions ; and 
is the one usually employed in rapid utterance. The Radi- 
cal is the only kind of stress which immutable syllables 
will bear, but it may be given on syllable's of indefinite 
time. 

1. The prison of his tyr-zxmy who reigns 
By our delay. 

2. Back to thy^tm-ishment, 
False fugitive. 

3. The universal cry is — Let us march against Philip, let us fight 

for our /a&-erties — let us con-quer or die ! 

* Note to the Teacher. — In the exercises of this section, the 
learner should first be permitted to employ his own skill in exe- 
cution. Afterwards he may read them with his teacher. 



104 MANUAL OF ELOCUTION. 

Median Emphasis. — This form of Emphasis is more dig- 
nified than the last, and is consequently well suited to the 
expression of lofty and sublime sentiments, and to the lan- 
guage of veneration and prayer. It can be given only on 
syllables of indefinite quantity. 

1. Wonder not, sovereign Mistress, if perhaps 
Thou canst, who art sole wonder ! 

2. Oh swear not by the moon, the inconstant moon? 
That monthly chcm-ges in her circling orb. 

3. Hail, ho-\y light, offspring of Heaven first-born ! 
Or of the Eternal co-eternal beam 

May I express thee unblamed 1 

4. Spare thou those, O God, who confess their faults. — Res-tore 

thou them that are penitent. 

Vanishing Emphasis. — This form of Emphasis usually 
expresses impatience, angry complaint, or some other mo- 
dification of ill humor. It is especially adapted to hasty 
interrogation, and may be given on any but the immutable 
syllables. — The tent scene between Brutus and Cassius 
furnishes numerous examples of this. 

1. Brutus. Let me tell you, Cassius, you yourself 

Are much condemned to have an itching palm ; 

To sell and mart your offices for gold 

To undeservers. 
Cassius. I an itching palm ? 

You know that you are Bru-tus that speak this, 

Or, by the Gods, this speech were else your last. 
Brutus. The name of Cassius honors this corruption, 

And c/^as-tisement doth therefore hide his head. 

2. Brutus. Mast /give way and room to your rash choler? 

Shall I he frighted when a mad-man stares 1 
Cassius. O ye gods ! ye gods ! must I endure all this ? 



EMPHASIS OF PITCH. 105 

3. Hamlet. Saw who ? 

Horatio. My lord, the King, your father. 
Hamlet. The King, my fa-ther 1 

Compound Emphasis. — This consists in an application 
of the compound stress to a syllable of indefinite time ; and 
is the most forcible form of emphatic stress. — It is particu- 
larly appropriate to the forcible expression of earnest or 
angry interrogation. 

1. Jlrm, warriors, arm for fight. 

2. Dost thou come here to whine? 

To outface me by leaping in her grave ? 

III. Emphasis of Pitch. 
The melody of unimpassioned discourse consists of a 
succession of syllables, whose concrete movement is only 
through a single tone, the discrete movement from syllable 
to syllable being also through the same interval. This is 
called the Diatonic melody. Any deviation from this 
movement, like a slide or a skip through a third, fifth, or 
octave, on any syllable, would most obviously produce 
such a distinction as to answer the purpose of emphasis, 
and that whether this movement were upward or down- 
ward, whether concrete or discrete. As the rising and 
falling movements pf the voice have different expressions, 
they will be treated separately. 

1. Emphasis of the Rising Intervals. 

The appropriate expression of the rising intervals is in- 
terrogation. This subject has been introduced to the 
learner in Sec. V, of Chap. I; and will be further dis- 
cussed under the head of Expression. But beside the in- 
terrogative expression, the rising movements both of a third 



106 MANUAL OF ELOCUTION. 

and a fifth may be used for purposes of emphasis merely ; 
while that of the octave probably always combines em- 
phasis with the thorough interrogative intonation. — The 
slide through the wider intervals should be struck on a 
line below the current melody. 

Examples. 
Emphasis of the Rising Concrete Third. — This is the 
emphasis of simple interrogation ; and is also employed to 
express the lower shades of emphatic distinction, as they 
occur in the diatonic melody. 

1. Gavest thou the goodly wings to the pea-cocks? or wings and 

feathers unto the os-trich? 

2. I love not man the less, but nature more, 
From these our interviews. 

3. Yet Bru-tus says he was ambitious. 

Emphasis of the Rising Discrete Third. — This has the 
same expression with the concrete rise of a third, and is 
rarely used but on immutable syllables. 

1. Canst thou draw out leviathan with a hook? 

2. Which, if not wzc-tory, is yet revenge. 

3. Why then their loss deplore, that are not lost ! 

4. Why should that name be sounded more than yours 1 

Emphasis of the Rising Concrete and Discrete Fifth. — 
The examples which illustrate the two preceding forms 
may be used for illustration here, by adding to the energy 
with which they are pronounced. The intervals of the 
fifth are of more rare occurrence than the third. The fol- 
lowing additional examples must suffice. 

Concrete. 

1. Wouldst thou be Kino: ? 



EMPHASIS OF PITCH. 107 

2. Tears like the rain-drops may fall without measure, 
But rapture and beauty they cannot recall. 

3. Time writes no wrinkle on thine azure brow. 

4. /am at liberty, like every other man, to use my own language. 

5. You are not left alone to climb the arduous ascent — God is 

with you ; who never suffers the spirit which rests on him 
to fail, nor the man who seeks his favor to seek it in vain. 

6. What though the field be lost ? all is not lost. 

Note 1. — When the emphatic rise, as in this last example, oc- 
curs on the last syllable or word of a declarative sentence, it must 
of course annul the cadence So also, if it occurs near the close. 

Note 2. — This emphatic rise, and the consequent suspension of 
the cadence, may occur in the Indirect Question ; as, What is that? 
Who do you say that is ? — These cases however are too rare to un- 
settle the general rules of Interrogative Intonation laid down in the 
first chapter. 

Discrete. 

1. Let me have men about me that are fat, 
Sleek-headed men, and such as sleep o' nights. 

2. Or when we lay 
Chained on the burning lake ! That sure was worse. 

Emphasis of the Rising Concrete and Discrete Octave. — 
This is the most earnest expression of interrogative intona- 
tion ; and is never used in grave discourse. Its appropriate 
expression is that of sneer or raillery. — The rise is concrete 
when it occurs on long syllables ; when on short or immu- 
table syllables, it is formed by a change of radical pitch. 

Concrete. 

1. Moneys is your suit. 
What should I say to you? Should I not say ? 
Hath a dog money ? Is it possible 

A cur can lend three thousand ducats ? 

2. A King's son ? You Prince of Wales ? 

Discrete. 

Zounds, show me what thoul't do : 
Woul't weep ? woul't fight ? woul't fast ? woul't tear thyself? 



108 MANUAL OF ELOCUTION. 

2. Emphasis of the Downward Intervals. 

As the rising movements of the voice express doubt and 
uncertainty, so the downward intervals are the appropriate 
symbol of surprise and positiveness. When the accented 
syllable is susceptible of being protracted, the movement 
is concrete ; and in this case the radical point of the slide 
is struck on a line above that of the current melody, the 
vanish descending below it, when the force of the emphasis 
is considerable. — On immutable syllables, the fall can be 
made only by a discrete skip of the voice. 

The fall for the purpose of emphasis, may be through a 
third, a fifth or an octave, according to the degree of posi- 
tiveness or surprise contemplated by the emphasis. 

Examples. 

Emphasis of tlie Downward Concrete Third. — 

1 . Does beauteous Tamar view, in this clear fount, 
Herself, or heaven ? 

2. You are the queen, your husband's brother's wife. 

3. The fault, dear Brutus, is not in our stars, 
But in ourselves, that we are underlings. 

4. The curfew tolls, the knell of parting- day. 

Emphasis of the Downward Concrete Fifth. — 

1. Seems, madam! nay, it is ,• I know not seems. 

2. Before the sun, before the heavens, thou wert. 

3. Upon the watery plain 
The wrecks are all thy deed. 

4. The man who is in the daily habit of using ardent spirits, if 

he does not become a drunkard, is in danger of losing his 
health and character. 

Note. — The sense itself, as well as the force of the expression, 
often depends, as in the last example, on the giving of the down- 
ward emphatic slide. 



EMPHASIS OF THE WAVE. 109 

Emphasis of the Downward Concrete Octave. — The 
learner scarcely need be informed, that this expresses the 
highest degree of this species of emphasis, or that it is of 
rare occurrence. Dr. Rush thinks that the following pas- 
sage cannot be uttered with dramatic effect, but by giving 
this form of emphasis on the word " hell." 

So frowned the mighty combatants, that Hell 

Grew darker at their frown. 

The following example will illustrate the discrete rise of 
a third on " that," and the discrete foil of the same inter- 
val on "too." 

Cassius. They shouted thrice ; what was the last cry for 1 

Casca. Why, for that too. 

The downward discrete fifth or octave, for the purpose 
of emphasis, is believed to be very rare. They cannot be 
made from the current melody ; nor is the voice ever suffi- 
ciently high to admit of such a fall, except when it has 
been carried up to give emphasis to a preceding word ; and 
then the fall is generally to be considered only as a simple 
return to the current melody. If in any case, such return 
is made on an immutable and emphatic syllable, then such 
discrete fall may be construed as a form of emphasis, and 
would be the only one that could properly be used. 

IV. Emphasis of the Wave. 
In practice, as in theory, it is believed that the number 
and variety of the waves is very great. They may be 
equal or unequal, single or double, direct or inverted ; and 
in any of these, the individual constituents may be varied 
from a semitone to an octave, though the intermediate in- 
tervals of a second, third, or fifth. A full illustration of 
this subject will not be attempted. 

10 






110 MANUAL OF ELOCUTION. 



This form of emphasis can only be used on syllables of 
long quantity ; and expresses, according to its forms, sur- 
prise and admiration, sneer and scorn. 

1. Emphasis of the Equal Wave. 

Examples. 

Equal Wave of the Semitone. — When the semitone is 

employed to give distinction to long syllables, it usually 

takes the form of the wave. This however gives it no new 

expression : it remains the symbol of plaintiveness. 

I heard the bell tolled on thy burial day, 
And turning from my nursery window drew 
A long, long sigh, and wept a last adieu. 

Equal Wave of the Second. — This has no peculiar ex- 
pression of its own. It is exhibited in all the examples, 
when properly read, which illustrate either the Temporal 
or the Median Emphasis; to these the learner would do 
well again to recur. 

Equal Wave of the Third, and of the Fifth. — 

1. Yond' Cassius has a lean and hun-gry look. 

2. Hadst thou alleged 
To thy deserted host this cause of flight, 
Thou surely hadst not come sok fugitive. 

3. Beyond that, I seek not to penetrate the veil. God grant, that 

in my day, at least, that curtain may not rise. God grant, 
that on my vision, never may be opened what lies behind. 

The foregoing may be considered as good examples of 
the wave of the third. The following may be read with 
the same wave on the emphatic syllables, though their 
full power cannot be developed but by the use of the 
wave of the fifth. 



EMPHASIS OF THE WAVE. Ill 

1. And breath'st defiance here and scorn 
Where I reign King 1 and to enrage thee more 
Thy King and lord ! 

2. So much the rather tkou, celestial Light, 

Shine inward, and the mind through all her powers 
Irradiate. 

3. I formed them free — 

They themselves ordained their fall. 

In the following example, the first two syllables in italics 
may receive the direct equal wave of the second; "I" 
should take the wave of the third, and " we" of the 

fifth. 

Brutus. 'Tis very like : he hath the falling sickness. 

Cassius. No, Ca-sar hath it not ; but you and /, 

And honest Casca, we have the falling sickness. 

Note.— In general it is believed, the Double wave has the same 
expression indicated by the single wave, and only heightens it by 
increasing the quantity of the syllable which receives the emphasis. 
Nor does the Inverted wave always give a different expression from 
the Direct; but sometimes seems to be used for the sake of variety. 
When however the last constituent of the wave, whether single or 
double, rises through the interval of a fifth or octave, it gives the 
expression of interrogation; as when it takes the falling through 
these intervals, it gives the expression of strong surprise. 

2. Emphasis of the Unequal Wave. 

The natural expression of inequality in the constituents 
'of the wave, is scorn and contempt. In dignified dis- 
course this sentiment is expressed by combining with the 
equal wave the vanishing stress, or the aspiration. With- 
out the employment of these elements, the language of sar- 
casm and irony loses all its point. 

Dr. Rush gives the following as examples of the Unequal 
Single Wave. — The word " boy," in the first, is pro- 
nounced with the rise of a fifth, and the subsequent fall of 
an octave. 



112 MANUAL OF ELOCUTION. 

False hound ! 
If you have writ your annals true, 'tis there 
That, like an eagle in a dove-cote, I 
Fluttered your Voices in Corioli; 
Alone I did it. — Buy ! 

In the following, " yea" may be read with the rise of a 
tone or a third, connected with the fall of a third or fifth. 

For, from this day forth, 
I'll use you for my mirth, yea, for my laughter, 
When you are waspish. 

The second " wrong" in the following line, may be read 
wdth the rise of a semitone and a fall of a third or fifth. 
You wrong me every way, you wrong me, Brutus. 

Emphasis of the Unequal Double Wave. — To be properly 
uttered, the waves all require quantity ; but the double 
wave especially requires that the syllable on which it is 
given should be susceptible of indefinite time. It is heard 
in peevish expression, in the colloquial cant of common 
life, and often heightens the effect of dramatic sentiment. 

This element may be exhibited on the word " they," as 
repeated in the following example : — 

They tell us to be moderate, while they, they revel in profusion. 

It may be suggested to the learner, as one of the modes 
of exhibiting the sentiment and feeling of the above pas- 
sage, to pronounce " us" with a rapid movement of the 
voice through the direct double wave of the second ; the 
first " they," with the direct single wave of the third ; and 
to give to this word when repeated the double wave 
having its first constituent the rising third, the second the 
falling fifth, and the third the rise of a second. — Other 
modes of inflection mig-ht be suggested. 






EMPHASIS OF QUALITY. 113 

V. Emphasis of Force. 
This form of emphasis is specially suited to short sylla- 
bles, and differs but little in its sound or its expression 
from the radical emphasis when combined with short quan- 
tity. This however is characterized by the same fullness 
of force throughout its whole extent, without the gradual 
vanish of the radical emphasis. The following will suffice 
as examples :— - - 

1. Tell your invaders this, and tell them, too, we seek no change; 

and least of all such a change as they would bring us. 

2. Therefore as far 
From granting be, as I from beg-g'mg peace. 

The Emphasis of the Vocule, is but the Emphasis of 
Force applied to a word consisting mainly of atonies, and 
terminated by a mute. When such a word is followed by a 
pause, this seems one of the most forcible modes of em- 
phasis. The employment of this element, however, re- 
quires great care, as it is so much more frequently used im- 
properly than otherwise. Nothing short of the most vehe- 
ment feeling authorizes its use. 

Examples. 

1. Whether upheld by strength, or chance, or fate. 

2. What though the field be lost 1 
All is not lost; the unconquerable will, 

And study of revenge, immortal hate, 
And courage never to submit or yield, — 
That glory never shall his wrath or might 
Extort from me. 

VI. Emphasis of Quality. 
Of the different kinds of voice mentioned in the last 
chapter, but three seem to be employed for purposes of 

10* 



114 MANUAL OF ELOCUTION. 

emphatic distinction, viz., the Tremor, the Aspiration, and 
the Guttural voice. 

1. Emphasis of the Tremor. 

The tremulous movement of the voice described in the 
last chapter is sometimes heard throughout short sentences ; 
but is often confined to single words, in which case it be- 
comes one of the elements of emphatic distinction. When 
combined with any other element than the semitone, it is 
the symbol of joy and exultation ; and when combined 
with this, it expresses tenderness and grief. 

Examples. 

1. Thou art the ruins of the noblest man, 
That ever lived in the tide of times. 

2. Now give the hautboys breath, he comes, he comes. 

3. Forsake me not thus, Adam ! 

Bereave me not, 
Whereon I live, thy gentle looks, thy aid, 
Thy counsel in this uttermost distress, 
My only strength and stay. Forlorn of thee, 
Whither shall I betake me, where subsist? 

2. Emphasis of Aspiration. 

Examples. 

1. Brutus. What means this shouting 1 ? I do fear, the people 

Choose Caesar for their King. 
Cassius. Ay, do you fear it? 

Then must I think you would not have it so. 

2. Brutus. The name of Cassius honors this corruption, 

And chastisement doth therefore hide his head. 
Cassius. Chastisement ! 

3. Brutus. Peace, peace; you durst not so have tempted him, 
Cassius. I durst not ! 



EMPHASIS OF QUALITY. 115 

3. Guttural Emphasis. 

Examples. 

1. 1 know thee not, nor ever saw till now 
Sight more de-/es/-able than him and thee. 

2. Whence these chains 1 
Whence the vile death, which I may meet this moment ? 
Whence this dishonor, but from thee, thou false one? 

The learner will find examples for his further practice in 
this important branch of elocution, in every piece of spirited 
composition he reads. He should first mark the words 
which are emphatic in the selection under examination, 
should satisfy himself, as to the most effective kind of em- 
phatic distinction to be employed on each ; and then should 
endeavor to execute the emphasis in the best manner of 
which he is capable. If the piece is to be recited, he 
should be careful to lay the stress on those words only 
which he had before so marked. The following additional 
remarks may render the learner further assistance in such 
practice. 

1. Though the elements of emphasis have been treated 
separately, they are often combined on the same word or 
syllable ; and some of them never occur alone : thus the 
Wave is always associated with Quantity, and usually with 
the Median Stress ; and the Guttural voice is generally as- 
sociated with the Aspiration. 

2. The emphatic words are often, in themselves consi- 
dered, very unimportant. Thus: — 

If you did know to whom I gave the ring, 

If you did know for whom I gave the ring, 

And would conceive for what I gave the ring, 

And how unwillingly I left the ring, 

When nought would be accepted but the ring, 

You would abate the strength of your displeasure. 



116 MANUAL OF ELOCUTION. 

3. Emphasis sometimes extends to several words, or an 
entire clause ; as, " I came not to baptize, but to preach the 
gospel." — "Heaven and earth will witness, if Rome must 
fall, that we are innocent." 

4. One of the objects of emphasis is to point out the an- 
tithetic relation of words ; and to exhibit this most strongly, 
the emphasis of the Rising and Falling Slides and of the 
Direct and Inverted Wave are often opposed to each other, 
on the words thus related. — When the emphasis falls on a 
single word, in consequence of its importance in the sen- 
tence, it is called absolute emphasis ; in case of antithesis, 
it is called relative emphasis. Several of these relations 
frequently occur in the same passage. Thus, — " The young 
are slaves to novelty, the old to custom." — " The hope of 
the righteous shall be gladness ; but the expectation of the 
ivicked shall perish." 

5. The emphasis of the Upward and Downward Slides, 
as also of the Waves, is often heightened by extending the 
movement to the unaccented syllables of the word on 
which it occurs. Examples : — 

What is it that a Roman would not suffer 
That a Venetian prince must bear ? 
For no narrow frith he had to cross. 
Though he will not rise and give him, because he is his friend, 
yet because of his importunity he would rise and give him as 
much as he needeth. 

6. In the employment of emphasis, two cautions may 
be given to the learner; viz., — First, that he should never 
allow himself to use the W T ave — particularly the Unequal 
Wave — where only the simple Slides are called for ; and 
Second, that he should avoid all excessive formality, in 
marking the emphatic words. This seems to imply, on the 



RELATIVE EMPHASIS. 117 

part of the speaker, a distrust of the ability of his audience 
to perceive the force of his language unless accompanied 
with peculiar efforts to exhibit it. 

Having explained at length the means by which em- 
phatic distinction is imparted to words, and the general 
principles on which the emphasis depends, it may be ex- 
pedient to give the learner the advantage of some more 
specific rules in relation to — 

Relative Emphasis. 

To mark the relative distinction of words, the emphasis 
of the Rising and Falling intervals is generally used. No 
new element of emphasis then remains to be here intro- 
duced. Under this head it is proposed simply to develope 
a subordinate principle in emphasis, which makes the kind 
of emphatic distinction employed, sometimes to depend on 
the structure of the sentence, or at least to be coincident 
with it. This should be considered only as a secondary 
principle, having reference, like the Diatonic Slides, rather 
to the sound than to the sense ; and liable, therefore, at 
any time, to be interrupted by the recurrence of the abso- 
lute emphasis. Having only euphony for its basis, as 
might be expected, there is not a perfect uniformity in the 
directions of elocutionists respecting it, or in the usage of 
good speakers. The following, it is believed, are all the 
rules that the learner can profit by, or that can be laid down 
without the danger of giving to speech an affected stiffness 
which ought not to belong to it. 

Rule I. When the successive members of a sentence 
consist of two clauses which correspond to each other, the 
first clause in each takes the Rising, and the latter the Fall- 
ing Slide. 



118 MANUAL OF ELOCUTION. 

Examples. 

1 . Here regard to virtue opposes insensibility to shame ,• purity to 
pollution ; integrity to injustice ; virtue to villany ,- resolution to rage ,• 
regularity to riot. The struggle lies between wealth and want ; the 
dignity and degeneracy of reason ; the /orce and the phrenzy of the 
soul ; between well-grounded hope and widely extended despair. 

2. By Aonor and dishonor ,- by m7 report, and good report; as de- 
ceivers, and yet true ; as unknown, and yet well known ; as dying, 
and behold we live; as chastened, and not killed,- as sorrowful, yet 
always rejoicing; as poor, yet making many rich ,• as having no- 
thing, and yet possessing all things. 

3. We are troubled on every side, yet not distressed ; perplexed 
but not in despair ; persecuted but not forsaken; cast down, but not 
destroyed. 

4. In the sueVableness or u?2suitableness, the proportion or disuro- 
portion of the affection to the object which excites it, consists the 
propnety or impropriety of the action. 

Note. — By observing these examples, it will be perceived, that 
this rule holds good without regard to the nature of the relation be- 
tween the clauses. — By the last, it appears, that when words which 
are derived from the same root stand in opposition to each other, on 
one of them at least the emphasis falls on the distinguishing sylla- 
ble, without regard to the place of the ordinary accent. 

Rule II. — When any sentence has corresponding mem- 
bers, expressing any other single relation than the antithesis 
of negation and affirmation, the first member generally 
takes the Rising and the latter the Falling Slide. 

Examples. 

1. Homer was the greater genius; Virgil, the better artist: in 
the one, we more admire the man ; in the other, the work. Homer 
hurries us with a commanding impetuosity ,■ Virgil leads us with an 
attractive majesty. Homer scatters with a generous profusion ,• Vir- 
gil bestows with a careful magnificence. Homer, like the Nile, 
pours out his riches with a sudden overflow ; Virgil, like a river in 
its banks, with a constant stream. 



RELATIVE EMPHASIS. 119 

2. I am found, said virtue, in the vale, and illuminate the moun- 
tains. I cheer the cottager at his toil, and inspire the sage at his 
meditation: I mingle in the crowd of cities, and bless the hermit in 
his cell. 

3. Dryden knew more of man in his general nature, and Pope in 
his local manners. The notions of Dryden were formed by compre- 
hensive speculation, those of Pope by minute attention. There is 
more dignity in the knowledge of Dryden, and more certainty in 
that of Pope. 

4. Never before were so many opposing interests, passions, and 
principles, committed to such a decision. On one side an attach- 
ment to the ancient order of things, on the other a passionate desire 
of change; a wish in some to perpetuate, in others to destroy every 
thing; every abuse sacred in the eyes of the former, every founda- 
tion attempted to be demolished by the latter ,- a jealousy of power 
shrinking from the slightest innovation, pretensions to freedom 
pushed to madness and anarchy ,- superstition in all its dotage, im- 
piety in all its fury ; — whatever, in short, could be found most dis- 
cordant in the principles, or violent in the passions of men, were 
the fearful ingredients which the hands of Divine justice selected 
to mingle in this furnace of wrath. 

5. Therefore, the world knoweth us not, because it knew him not. 

6. Custom is the plague of wise men, and the idol of fools. 

7. Caesar was celebrated for his great generosity, Cato for his un- 
sullied integrity. 

Note. — When the members are long, and especially if they ex- 
press a complete sense, as in the last example, — both members are 
often terminated with the falling inflection; nor do I consider that 
objectionable. In that case, however, the antithesis may be pre- 
sented on the leading words of the members ; as, in this example, on 
'Caesar' and 'Cato.' The following examples may also illustrate 
the same point: — "The power of delicacy is chiefly seen in dis- 
cerning the true merit of a work; the power of correctness, in re- 
jecting false pretensions to merit." — "The Spartan [Lycurgus] 
aimed to form a community of high-minded warriors ; the Athenian 
[Solon] sought rather a community of cultivated scholars." 

Rule III. — When a sentence consists of two corres- 
ponding members, the one negative, the other affirmative, 



120 MANUAL OF ELOCUTION. 

the negative member takes the Rising Slide ; — Except 
when overruled by the absolute Emphatic Stress. 

When the negative member comes first, it is obvious 
that this rule is entirely coincident with Rule II, as in the 
following examples : — " I did not say a better soldier, but 
an elder." — " These things I say now, not to insult one 
who is fallen, but to render more secure those who 
standi — " He came not with the aspect of vengeance, but 
of mercy" 

The following examples, in which the negative member 
occurs last, will show 7 that the principle is of universal ap- 
plication. 

1. The duty of a soldier is to obey, not to direct his general. 

2. It was an enemy, not a friend, who did this. 

3. I came to bury Caesar, not to praise him. 

4. You were paid to fight against Alexander, not to rail at him. 

Examples of exception to Rule III, founded on the abso- 
lute emphasis : — 

1. If we have no regard for our character, we ought to have 
some regard for our interest. 

2. If you will not make the experiment for your own satisfac- 
tion, you ought to make it for the satisfaction of your friends. 

3. The man who is in the daily use of ardent spirit, if he does 
not become a drunkard, is in danger of losing his health and 
character. 

4. If we have no regard for religion in youth, we ought to have 
some respect for it in age. 

Note 1. — When the negative is implied though not expressed, 
the negative member still takes the Rising Slide: thus, — "A coun- 
tenance more in sorrow than in anger." Here the inflections are as 
though it were read, — " A countenance in sorrow, not in anger." 
The following examples will further illustrate this principle : — " He 
is more knave than fool." — " Napoleon merits praise, rather than 
dispraise." — "Caesar deserves blame, instead of fame." 

Note 2. — When only the negative part of such sentence is ex- 



RELATIVE EMPHASIS. 121 

pressed, if the antithetic part is plainly obvious, it may take the 
Rising Slide. Examples: — 

True politeness is not a mere compliance with arbitrary custom ,- 
[it is the expression of a refined benevolence.] 

God is not the author of sin, [but of moral excellence.] 

To these rules may be added two others for the Falling 
Slide ; and they are given here, because, like the foregoing, 
they seem to depend sufficiently on the structure of the 
sentence, to receive some illustration from that principle 

Rule IV. A succession of emphatic particulars takes 
the Emphasis of the Falling Slide. 

Examples. 

1. Absalom's beauty, Jonathan's love, David's valor, Solomon's 
wisdom, the patience of Job, the prudence of Augustus, the eloquence 
of Cicero, the innocence of wisdom, and the intelligence of all, — 
though faintly amiable in the creature, are found in immense per- 
fection in the Creator. 

2. The soul can exert herself in many different ways of action. 
She can understand, will, imagine, — see and hear, — love and dis- 
course, — and apply herself to many other like exercises of different 
kinds and natures. 

3. His hopes, his happiness, his very life, hung upon the next 
word from those lips. 

4. Valor, humanity, courtesy, justice, and honor, were the charac- 
teristics of chivalry. 

Note. — On each successive word of the emphatic series, the 
slide should be made through a wider interval, and with increased 
force.* 

* Several eminent writers on elocution have laid down the rule, 
that the last member of a commencing series, or, more generally, 
the penultimate clause of a sentence, should take the Rising Inflec- 
tion. Thus, 'honor,' in the last example, according to this rule, 
should receive the Rising Slide, instead of presenting to the ear 
the climax which exists in the sense; and some very insufficient 
reasons are assigned why it should be so. I would suggest, how- 
ever, that a slight pause, after the last emphatic word, prepares the 

11 



122 MANUAL OF ELOCUTION. 

Rule V. — Emphatic repetition requires the Falling Slide. 

Examples. 

1. And the angel of the Lord called unto him out of heaven; and 
said, Abraham, Abraham. And he said, Here am I. 

2. O Jerusalem, Jerusalem, thou that killest the prophets, and 
stonest them which are sent unto you, how often would I have 
gathered thy children together, even as a hen gathereth her chick- 
ens under her wings, and ye would not ! 



SECTION IV. 

OF THE DRIFTS OF THE VOICE. 

Preparatory to the next two sections, we here intro- 
duce what Dr. Rush has well designated the " Drifts of the 
Voice." In the first chapter of this Manual are enume- 
rated and described all the elements which are supposed to 
be essential to a perfect elocution. The learner must feel 
an interest in knowing whether they are limited in their 
application and use to the emphasis, as described in the last 

way for a more harmonious cadence than can be produced in the 
way proposed ; and this is believed to be the manner of many of 
our best speakers. — Who ever hears, in the spirited utterance of 
any of our most accomplished speakers, such specimens as occur in 
the notation of F Wer's Analysis? Witness the following, for ex- 
ample. 

"What, Tubero, did that naked sword of yours mean, in the 
battle of Pharsalia'? At whose breast was its point aimed ] What 
was the meaning of your arms, your spirit, your eyes, your hands, 
your ardor of soul 1 ?" 

"Thou shalt love the Lord thy God, with all thy heart, and with 
all thy soul, and with all thy strength, and with all thy mind, and 
thy neighbor as thyself." 

The mere presentation of these examples furnishes a sufficient 
refutation of the principle, as susceptible of general application. 
The exceptions which should be made to it in practice are sufficient 
to render it entirely nugatory. 



DRIFTS OF THE VOICE. 123 

section ; or whether they can be applied to entire periods, 
paragraphs, or discourses; and thus give a character to 
their expression. The answer to this interrogatory is, that 
some of them are confined to single words, while others 
may be extended to phrases, and still others to paragraphs, 
or entire discourses. It is this repetition of the same ele- 
ment, producing a style which runs through and character- 
izes the utterance of entire passages of discourse, that is 
called a drift of speech. 

We shall here do little more than enumerate the elements 
w T hich belong to these three classes, leaving it to the 
application which is to be made in following sections to 
explain the import of these several drifts, and the circum- 
stances which should determine their employment ; as also 
to furnish the practice necessary to their execution. 

The Temporal Drift. — This designation of itself will 
suggest to the learner no particular rate of utterance. In 
fact, this is a general term ; embracing the Drift of Quantity 
or Slow Time, and the Drift of Quick Time, together with 
the Natural Drift of unimpassioned speech. The Time of 
the voice in any of its modifications may be applied to 
portions of discourse of any extent. 

The Drifts of Radical Stress, of Median Stress, and of 
Vanishing Stress, can be extended throughout a discourse, 
in as much as the sentiments which they severally represent 
are restricted neither to words nor phrases. 

The Drift of Pitch.- — The different degrees of pitch, as 
well as the different kinds of Stress, may be employed on 
passages of some length, without any considerable variation. 

The Drift of the Semitone, and the Diatonic Drift, only 
indicate the prevalence of the elements necessary to con- 
stitute their respective melodies. 



124 MANUAL OF ELOCUTION. 

The Drift of the Downward Slides. — The downward 
movements of the voice, though not limited to any parti- 
cular interval, are sufficient to give a peculiar character to 
the expression. The interval of the downward octave 
however is never employed but for emphasis. 

The Drifts of the Wave of the Semitone, and of the Wave 
of the Second, are distinguished by the prevalence of their 
respective elements, and are always connected with 
Quantity. 

The Drift of Force. — Like the temporal drift and the 
drift of pitch, this may be characterized by difference in de- 
gree. Loudness and Softness constitute styles of utterance, 
as well marked as almost any other elements of speech. 

The Drift of Quality. — Of the kinds of voice enume- 
rated, perhaps none are adapted to produce drifts but the 
Natural voice and the Orotund. 

Those elements of speech which are suited only to 
phrases, or very short portions of discourse, but which are 
employed for purposes more extended than mere emphasis, 
give rise to what Dr. Rush has called Partial Drifts of 
Speech. They are as follows: — 

The Partial Drift of the Rising Slides. — This is em- 
ployed in Interrogation. 

The Partial Drift of Quality, as heard in the Tremor, 
the Aspiration, the Guttural, and the Falsette. 

The Partial Drift of the Phrases of Melody. — Of these 
none perhaps are appropriated to purposes of expression, 
but the Monotone, and the Alternate Phrase. 

The following are never heard as Drifts of Speech, nor 
used but for the mere purpose of emphasis on single words, 
except as a fault of delivery :— The Vocule, the Compound 



DRIFTS OF THE VOICE. 125 

Stress, the Downward Octave, and the Waves of the Third, 
Fifth, and Eighth. The use of these elements, then, has 
been sufficiently set forth in the last section. — It remains to 
show how the Drifts of Speech may be further employed 
for the purpose of Expression. 

As a further suggestion preparatory to the application of 
the principles here developed, it may be remarked, that 
these drifts, or styles of speech, are often found united in 
the same melody, though they have been treated thus sepa- 
rately, and as distinct elements. There are few of them 
that are incongrudus the one with the other, and no one of 
them but admits of a combination with some other. As 
examples of such combination, it will be found that Dig- 
nity requires the union of the Drifts of Quantity, of the 
Median Stress, of the Wave of the Second, and of the 
Orotund, together with the Partial Drift of the Monotone ; 
and that i\.NGER combines the Drifts of Quick Time, 
the Radical Stress, the Downward Slides, and of Force, 
with the Partial Drifts of th^ Guttural voice and the 
Aspiration. 

The ease with which the learner will make these com- 
binations will depend on his familiarity with these elements 
in their uncombined state. In the examples, however, 
which will be given for practice in the next section, it 
will not be best to attempt the employment of all the sym- 
bols at the first reading. For illustration, in a passage 
containing angry sentiment, let the learner first read it with 
Force and in Quick time, then repeat it in connection with 
the Radical Stress and the Downward Slides. And when 
this can be done with ease, as he becomes imbued with 
the sentiment of the passage, let him add the Guttural 
harshness and the Aspiration on such words and clauses 

11* 



12G MANUAL OF ELOCUTION. 

as will best bear their application. Indeed the effective 
employment of the higher elements of speech, whether 
single or in combination, will depend essentially on the 
susceptibility of the reader or speaker to feel the sentiments 
he utters. — This exercise will do much to prevent any 
misapplication of the functions of the voice, and thus to 
protect him who might otherwise be guilty of such misap- 
plication from the charge of affectation. 



SECTION V. 

OF EXPRESSION. 

Intonation has much to do with the expression of senti- 
ment and passion. Some of the sensibilities, it is true, 
can be expressed only by words; while others, on the con- 
trary, can receive a full expression only by the tones of the 
voice. These are often sufficient, even without any aid from 
articulate words. Thus the tones expressive of want and 
distress in the domestic animals are instinctively understood, 
and have a wonderful power over the human heart. The 
sigh and the groan produce in the hearer an emotion of pain, 
which the substitution of words however full of grief or an- 
guish tends to relieve. These tones, so expressive in them- 
selves, cannot fail to be impressive when united w T ith words. 

The "Expression of the Passions" has been a favorite 
subject with all writers on Elocution. Little has been done 
however in the real development of the subject, — formerly 
for the want of terms to express the various functions 
of the voice. This defect having been supplied by Dr. 
Rush, we see no reason why the learner may not now suc- 
cessfully be taught the application of the principles set forth 



EXPRESSION. 127 

in the first chapter, to the expression of sentiment and feel- 
ing. We do not here propose a full exposition of this sub- 
ject, because we do not deem it necessary. He who 
acquires the full command of the elements already de- 
scribed, who is free from bad habits, and possesses the 
power of feeling' deeply what he utters, will, we admit, 
need little instruction in the application of these elements 
to his purpose. So, on the contrary, he who is destitute 
of the susceptibility of emotion, in view of the sentiments 
which he reads, or of the thoughts which fill his mind in 
extemporaneous utterance, will make but a poor piece of 
work in the attempt to counterfeit this emotion, even after 
studying all that can be said as to the modes of express- 
ing it. 

Frequently, however, the susceptibility of feeling is not 
wanting ; but yet has been suppressed, either by habits of 
dull and monotonous delivery, or by a natural diffidence 
which has refused a full expression of the language of 
emotion. In such cases, it is believed the exercises of 
this section will prove sufficient to put the learner upon the 
right course of practice, while it is as confidently believed, 
that nothing short of this would meet his wants. The 
ready use of the natural language of emotion secures two 
objects ; first, to bring into active operation the suscepti- 
bility of emotion which may exist in the speaker ; and 
second, to enable him to awaken in others what he him- 
self feels. The first of these objects — the reaction of elo- 
quent expression upon the mind of the speaker — is often 
overlooked. 

Before entering formally upon this part of our work, the 
learner should be reminded, that while the voice alone 
does much in the expression of feeling, much is also left 



128 MANUAL OF ELOCUTION. 

for language to do. The same element of vocal expression 
is often used for sentiments widely different from each 
other ; he, then, who expects to find a vocal element pecu- 
liarly adapted to every different sentiment, expects too 
much. It will not be our object here fully to develop this 
subject ; nor in the development we shall give to it, shall 
we have any reference to a scientific classification of the 
passions. Our view will be strictly practical. Most of 
the points will be illustrated by examples, which it is be- 
lieved will prove sufficient for all the preliminary practice 
of the learner. When these can be perfectly executed, 
then further examples may be sought for and everywhere 
found. 

Narrative, Description. 
Common discourse or colloquial dialogue, which has for 
its object the expression of thought without any admixture 
of feeling, calls into use — The Natural Voice, and the Dia- 
tonic Melody ; and admits the Wave of the Second on 
syllables susceptible of long quantity. These are the sim- 
plest elements used in speech, and their combination 
scarcely deserves a place under the head of Expression. 
Even emphasis or interrogation breaks in on this simple 
melody of speech. 

Dignity, Solemnity, Gravity, &c. 

Dignified, solemn, and grave subjects are most naturally 
and fully expressed by the Orotund voice, the Partial Drift 
of the Monotone, Slow Time, and Long Quantity com- 
bined with the Single Equal Wave of the Second, both 
Direct and Inverted, and with the Median Stress. 

The same symbols are also employed to express Re- 
spect, Reverence, Veneration, and Adoration, as also Solemn 



EXPRESSION. 129 

Rebuke, serious Admonition and Reproach ; and they aid 
in giving utterance to all other sentiments which embrace 
the idea of Deliberation. 

Examples.* 

1. High on a throne of royal state, which far 
Outshone the wealth of Ormus and of Ind, 
Or where the g-orgeous east with richest hand 
Showers on her kings barbaric pearl and gold, 
Satan exalted sat, by merit raised 

To that bad eminence : and, from despair 

Thus high uplifted beyond hope, aspires 

Beyond thus high, insatiate to pursue 

Vain war with Heaven; and, by success untaught, 

His proud imaginations thus displayed. 

2. Hail, holy Light! offspring of Heaven first-born! 
Or of the Eternal co-eternal beam 

May I express thee unblamed 1 since God is light, 

And never but in unapproached light 

Dwelt from eternity, dwelt then in thee, 

Bright effluence of bright essence increate. 

Or hear'st thou rather, pure ethereal Stream, 

Whose fountain who shall tell 1 Before the sun, 

Before the heavens thou wert; and, at the voice 

Of God, as with a mantle, didst invest 

The rising world of waters dark and deep, 

Won from the void and formless infinite. 

3. And the heaven departed as a scroll, when it is rolled together ; 

and every mountain and island were moved out of their places. 

And the kings of the earth, and the great men, and the rich men, 

and the chief captains, and the mighty men, and every bondman, 

* In the execution of the examples of this section, the teacher 
must use a discretionary power, as to how far he will throw the 
student upon his own resources. Before, however, leaving the ex- 
ercises, under each head, he should present to his pupil the true 
modulations, and thus lead him to the most perfect execution by the 
aid of his example, as well as his instructions. 



130 MANUAL OF ELOCUTION. 

and every free man, hid themselves in the dens and in the rocks of 
the mountains ; and said to the mountains and rocks, Fall on us, 
and hide us from the face of him that sitteth on the throne, and 
from the wrath of the Lamb : — For the great day of his wrath is 
come; and who shall be able to stand? 

4. Thou glorious mirror, where the Almighty's form 
Glasses itself in tempests ; in all time 

Calm or convulsed — in breeze, or gale, or storm, 

Icing the pole, or in the torrid clime 

Dark-heaving; — boundless, endless, and sublime — 

The image of eternity — the throne 

Of the Invisible; even from out thy slime 

The monsters of the deep are made ; each zone 

Obeys thee ; thou goest forth, dread, fathomless, alone. 

5. Fathers, we once again are met in council : 
Caesar's approach has summoned us together, 
And Rome attends her fate from our resolves. 
How shall we treat this bold aspiring man? 
Success still follows him, and backs his crimes: 
Pharsalia gave him Rome. Egypt has since 
Received his yoke, and the whole Nile is Caesar's. 
Why should I mention Juba's overthrow, 

Or Scipio's death? Numidia's burning sands 

Still smoke with blood. 'Tis time we should decree 

What course to take ; our foe advances on us, 

And envies us even Lybia's sultry deserts. 

Fathers, pronounce your thoughts ; are they still fixed 

To hold it out and fight it to the last ? 

Or are your hearts subdued at length, and wrought, 

By time and ill success, to a submission ? 

Sempronius, speak. 

6. I appeal to the immaculate God — I swear by the throne of 
Heaven, before which I must shortly appear — by the blood of the 
murdered patriots who have gone before me — that my conduct has 
been, through all this peril, and through all my purposes, governed 
only by the convictions which I have uttered, and by no other mo- 



EXPRESSION. 131 

tive than that of their cure, and the emancipation of my country 
from the superinhuman oppression under which she has so long and 
too patiently travailed ; and I confidently hope, that, wild and chi- 
merical as it may appear, there are still union and strength in Ire- 
land sufficient to accomplish this noblest enterprise. 

7. All that breathe 
Will share thy destiny. The gay will laugh 
When thou art gone, the solemn brood of care 
Plod on, and each one as before will chase 
His favorite phantom; yet all these shall leave 
Their mirth and their employments, and shall come 
And make their bed with thee. As the long train 
Of ages glide away, the sons of men, 

The youth in life's green spring, and he who goes 
In the full strength of years, matron and maid, 
And the sweet babe, and the gray-headed man, — 
Shall one by one be gathered to thy side, 
By those who in their turn shall follow them. 

So live, that when thy summons comes to join 
The innumerable caravan, that moves 
To that mysterious realm, where each shall take 
His chamber in the silent halls of death, 
Thou go not, like the quarry-slave at night, 
Scourged to his dungeon ; but, sustained and soothed 
By an unfaltering trust, approach thy grave, 
Like one who wraps the drapery of his couch 
About him, and lies down to pleasant dreams. 

8. Go, Sun, while Mercy holds me up 

On Nature's awful waste 
To drink this last and bitter cup 

Of grief that man shall taste — 
Go, tell that night that hides thy face, 
Thou saw'st the last of Adam's race, 

On earth's sepulchral clod, 
The dark'ning universe defy 
To quench his immortality, 

Or shake his trust in God ! 






132 MANUAL OF ELOCUTION. 

9. Two hundred years ! — two hundred years ! — 

How much of human power and pride, 
What glorious hopes, what gloomy fears, 

Have sunk beneath their noiseless tide ! — 
God of our fathers, — in whose sight 

The thousand years, that sweep away 
Man, and the traces of his might, 

Are but the break and close of day, — 
Grant us that love of truth sublime, 

That love of goodness and of thee, 
That makes thy children, in all time, 

To share thine own eternity. 

10. Thy path is high in heaven ; — we cannot gaze 

On the intense of light that girds thy car; 
There is a crown of glory in thy rays, 

Which bears thy pure divinity afar, 

To mingle with the equal light of star; 
For thou, so vast to us, art, in the whole, 

One of the sparks of night that fire the air; 
And, as round thy centre planets roll, 
So thou, too, hast thy path around the central soul. 

11. O Thou that rollest above, round as the shield of my fathers ! 
whence are thy beams, O Sun! thy everlasting light? Thou 
comest forth in thy awful beauty; the stars hide themselves in the 
sky ; the moon, cold and pale, sinks in the western wave. But 
thou thyself movest above ! Who can be a companion of thy 
course 1 The oaks of the mountains fall : the mountains them- 
selves decay with years : the ocean shrinks and grows again : the 
moon herself is lost in the heavens : but thou art for ever the same, 
rejoicing in the brightness of thy course. When the world is dark 
with tempests, when thunder rolls, and lightning flies, thou 

lookest in thy beauty from the clouds, and laughest at the storm 

But to Ossian thou lookest in vain; for he beholds thy beams no 
more, whether thy yellow hair floats on the eastern clouds, or thou 
tremblest at the gates of the west. But thou art, perhaps, like me, 
for a season; thy years will have an end. Thou shalt sleep in thy 



EXPRESSION. 133 

clouds, careless of the voice of the morning. Exult then, O Sun! 
in the strength of thy youth — -Age is dark and unlovely: it is like 
the glimmering light of the moon, when it shines through broken 
clouds, and the mist is on the hills; when the blast of the north is 
on the plain, and the traveler shrinks in the midst of his journey. 

12. Night, sable goddess! from her ebon throne, 
In ray less majesty, now stretches forth 

Her leaden sceptre o'er a slumbering world. 
Silence how dead ! and darkness how profound ! 
Nor eye nor listening ear can object find : 
Creation sleeps. 'Tis as the general pulse 
Of life stood still, and Nature made a pause, 
An awful pause, prophetic of her end. 

13. This is the place, the centre of the grove: 
Here stands the oak, the monarch of the wood. 
How sweet and solemn is this midnight scene ! 
The silver moon, unclouded, holds her way 
Through skies where I could count each little star; 
The fanning west-wind scarcely stirs the leaves ; 
The river rushing o'er its pebbled bed, 

Imposes silence with a shrilly sound. — 
In such a place as this, at such an hour, 
(If ancestry can be in aught believed,) 
Descending spirits have conversed with man, 
And told the secrets of the world unknown. 

Gayety, &c. 

Gayety is the exact opposite of dignity, and consequently 
demands another class of elements for its expression. 
Sprightliness of sentiment therefore, calls into requisition 
the Natural Voice, Quick Time, and Short Quantity, the 
Radical or Vanishing Stress, and the frequent recurrence 
of the Alternate Phrase of Melody. Facetiousness, Eager 
Argument, and Earnest Description employ these symbols. 

12 



134 MANUAL OF ELOCUTION. 

Examples. 

1. Those two together long had lived 
In mansion prudently contrived, 
Where neither tree nor house could bar 
The free detection of a star ; 
And nigh an ancient obelisk 
Was raised by him, found out by Fisk, 
On which was written, not in words, 
But hieroglyphic mute of birds, 
Many rare pithy saws concerning 
The worth of astrologic learning. 
From top of this there hung a rope, 
To which he fastened telescope, 
The spectacles with which the stars 
He reads in smallest characters. 
It happened as a boy, one night, 
Did fly his tarsel of a kite, 
The strangest long-winged hawk that flies, 
That, like a bird of Paradise, 
On herald's martlet, has no legs, 
Nor hatches young ones, nor lays eggs ; 
His train was six yards long, milk-white, 
At the end of which there hung a light, 
Inclosed in lantern, made of paper, 
That far off like a star did appear : 
This Sydrophel by chance espied, 
And with amazement staring wide, 
Bless us ! quoth he, what dreadful wonder 
Is that appears in Heaven yonder ? 
A comet, and without a beard ! 
Or star that ne'er before appeared 1 
I'm certain 'tis not in the scrowl 
Of all those beasts, and fish, and fowl 
With which like Indian plantations, 
The learned stock the constellations ; 
Nor those that drawn for signs have been 
To the houses where the planets inn. 



EXPRESSION. 135 

It must be supernatural, 

Unless it be that cannon-ball 

That, shot i' th' air point-blank upright, 

Was borne to that prodigious height; 

That, learned philosophers maintain, 

It ne'er came backwards down again, 

But in the airy regions yet 

Hangs, like the body of Mahomet : 

For if it be above the shade 

That by the earth's round bulk is made, 

'Tis probable it may from far 

Appear no bullet, but a star. 

2. My poem's epic, and is meant to be 

Divided in twelve books ; each book containing, 

"With love, and war, a heavy gale at sea, 

A list of ships and captains, and kings reigning, 

New characters ; the episodes are three : 
A panorama view of hell's in training, 

After the style of Virgil and of Homer, 

So that my name of epic's no misnomer. 

All these things w T ill be specified in time, 

With strict regard to Aristotle's rules ; 
The vade mecum of the true sublime, 

Which makes so many poets, and some fools ; 
Prose poets like blank-verse, I'm fond of rhyme, 

Good workmen never quarrel with their tools ; 
I've got new mythological machinery, 
And very handsome supernatural scenery. 

'Twas the night before Christmas, when all thro' the house 

Not a creature was stirring, not even a mouse : 

The stockings were hung by the chimney with care, 

In hopes that St. Nicholas soon would be there ; 

The children were nestled all snug in their beds, 

While visions of sugar-plums danced through their heads ; 

And mamma in her 'kerchief and I in my cap, 

Had just settled our brains for a long winter's nap — 



136 MANUAL OF ELOCUTION. 

When out on the lawn there arose such a clatter, 

I sprang from the bed to see what was the matter : 

Away to the window I flew like a flash, 

Tore open the shutters and threw up the sash. 

The moon, on the breast of the new fallen snow, 

Gave the lustre of mid-day to objects below. 

When, what to my wondering' eyes should appear 

But a miniature sleigh, and eight tiny reindeer, 

With a little old driver, so lively and quick, 

I knew in a moment it must be St. Nick. 

More rapid than eagles his coursers they came, 

And he whistled, and shouted, and called them by name : 

"Now, Dasher ! now, Dancer! now, Prancer! now, Vixen 

On, Comet! on, Cupid! on, Donder and Blixen — 

To the top of the porch ! to the top of the wall ! 

Now, dash away, dash away, dash away all !" 

4. Law is law — law is law ; and as in such and so forth and 
hereby, and aforesaid, provided always, nevertheless, notwithstand- 
ing. Law is like a country dance, people are led up and down in 
it till thej' are tired. Law is like a book of surgery, there are a 
great many desperate cases in it. It is also like physic, they that 
take least of it are best off. Law is like a homely gentlewoman, 
very well to follow. Law is also like a scolding wife, very bad 
when it follows us. Law is like a new fashion, people are be- 
witched to get into it: it is also like bad weather, most people are 
glad when they get out of it. 

5. Come, dance, elfins, dance! for my harp is in tune, 

The wave-rocking gales are all lulled to repose ; 
And the breath of this exquisite evening of June, 

Is scented with laurel and myrtle and rose. . 
Each lily that bends to the breast of my stream, 

And sleeps on the waters transparently bright, 
Will in ecstasy wake, like a bride from her dream, 

When my tones stir the dark plumes of silence and night 
My silken-winged bark shall career by the shore, 

As calmly as yonder white cloud on the air; 




EXPRESSION. 137 

And the notes ye have heard with such rapture before, 
Shall impart new delight to the young and the fair. 

6. Oh ! water for me ! bright water for me, 
And wine for the tremulous debauchee ! 
It cooleth the brow, it cooleth the brain, 
It maketh the faint one strong again ; 
It comes o'er the sense like a breeze from the sea, 
All freshness, like infant purity. 
Oh ! water, bright water for me, for me ! 
Give wine, give wine to the debauchee! 

Fill to the brim ! fill, fill to the brim, 
Let the flowing crystal kiss the rim ! 
For my hand is steady, my eye is true, 
For I, like the flowers, drink nought but dew. 
Oh ! water, bright water's a mine of wealth, 
And the ores it yieldeth are vigor and health. 
So water, pure water for me, for me ! 
And wine for the tremulous debauchee ! 

Fill again to the brim ! again to the brim ! 
For water strengthened life and limb ! 
To the days of the aged it addeth length, 
To the might of the strong it addeth strength, 
It freshens the heart, it brightens the sight, 
'Tis like quaffing a goblet of morning light ! 
So, water, I will drink nought but thee, 
Thou parent of health and energy ! 

When o'er the hills like a gladsome bride 
Morning walks forth in her beauty's pride, 
And, leading a band of laughing hours, 
Brushes the dew from the nodding flowers ; 
Oh ! cheerily then my voice is heard 
Mingling with that of the soaring bird, 
Who flingeth abroad his matins loud, 
As he freshens his wing in the cold gray cloud. 

But when evening has quitted her sheltering yew, 
Drowsily flying and weaving anew 
12* 



138 MANUAL OF ELOCUTION. 

Her dusky meshes o'er land and sea, 

How gently, O sleep, fall thy poppies on me! 

For I drink water, pure, cold, and bright, 

And my dreams are of Heaven, the live-long night; 

So hurrah! for thee, Water! hurrah, hurrah! 

Thou art silver and gold, thou art riband and star! 

Hurrah ! for bright water! hurrah, hurrah ! 

Positiveness, Confidence, Authority, &c 

All expressions of full and settled Conviction or Confi- 
dence on the part of the speaker, have their appropriate 
symbols ; and the same elements which express Certainty 
are very naturally employed to express Authoritative Com- 
?nand. They will be found to be the same ; and the ele- 
ments for denoting these sentiments are the Downward 
Slides, and the Radical Stress ; and, in energetic expres- 
sion, these are generally combined with Force. These 
characteristics of speech belong also to Denying, Reprov- 
ing, Refusing and Forbidding, to Reprehension and De- 
nunciation, and to Defiance and Adjuration, as well as 
to strong Affirmation ; and even to warm Argument, when 
employed in defence of one's own rights. Also in their 
moderate degrees, these elements are suited to Instruc- 
tion and Precept. — It is not perhaps surprising, that the 
confidence even of Despair and Resignation should express 
itself by the Downward movements of the voice. 

Vaunting Authority, and a degree of positiveness which 
implies Self- Admiration, require a Harsh Voice, and the 
Vanishing Stress ; and admit the Equal Direct Wave, com- 
bined with the Median Stress on syllables which are em- 
phatic and admit of long quantity. 

Examples. 
1. Your grace shall pardon me, I will not back ; 
I am too high born to be propertied ; 






EXPRESSION. 139 

To be a secondary at control, 

Or useful serving-man and instrument 

To an} T sovereign state throughout the world. 

Your breath first kindled the dead coal of war 

Between this chastised kingdom and myself. 

And brought in matter that should feed this fire ; 

And now 'tis far too huge to be blown out 

With that same weak wind which enkindled it. 

You taught me how to know the face of right, 

Acquainted me with interest to this land ; 

Yea, thrust this enterprise into my heart ; 

And come ye now to tell me John hath made 

His peace with Rome 1 What is that peace to me 1 

I, by the honor of my marriage-bed, 

After young Arthur, claim this land for mine ; 

And, now it is half conquered, must I back, 

Because that John hath made his peace with Rome 1 

Am I Rome's slave 1 What penny hath Rome borne, 

What men provided, what munition sent, 

To underprop this action] Is't not I 

That undergo this charge 1 Who else but I, 

And such as to my claim are liable, 

Sweat in this business, and maintain this war? 

Have I not heard these islanders shout out, 

Vive le roy ! as I have banked their towns ; 

Have I not here the best cards for the game, 

To win this easy match played for a crown? 

And shall I now give o'er the yielded set 1 ? 

No, no, my soul, it never shall be said. 

2. However heaven or fortune casts my lot, 

There lives or dies true to King Richard's throne, 

A loyal, just, and upright gentleman; 

Never did captive with a freer heart 

Cast off his chains of bondage, and embrace 

His golden, uncontrolled enfranchisement, 

More than my dancing soul to celebrate 

This feast of battle with mine adversary »= 



140 MANUAL OF ELOCUTION. 

Most mighty liege, — and my companion peers, 
Take from my mouth the wish of happy years : 
As gentle and as jocund, as to jest, 
Go I to fight, — truth hath a quiet breast. 

3. Let them lay by their helmets and their spears, 
And both return back to their chairs again : — 
Withdraw from us, and let the trumpet sound 
While we return these dukes what we decree. — 
Draw near, 

And list what with our council we have done. 

For that our kingdom's earth should not be soiled 

With that dear blood which it hath fostered ; 

And for our eyes do hate the dire aspect 

Of civil wounds, ploughed up with neighbor's swords; 

Therefore we banish you our territories : 

You, cousin Hereford, upon pain of death, 

Till twice five summers have enriched our fields, 

Shall not regreet our fair dominions, 

But tread the stranger paths of banishment. 

4. On pain of death no person be so bold 
Or daring hardy as to touch the lists ; 
Except the marshal, and such officers 
Appointed to direct these fair designs. 

5. Met. Most high, most mighty, and most puissant Caesar, 

Metellus Cimber throws before thy feet 
An humble heart. 
Caes, I must prevent thee, Cimber; 

These crouchings, and these lowly courtesies 

Might fire the blood of ordinary men, 

And turn pre-ordinance, and first decree, 

Into the law of children. Be not fond, 

To think that Ceesar bears such rebel blood, 

That will be thawed from the true quality 

With that which melteth fools ; I mean sweet words, 

Low-crooked curt'sies, and base spaniel fawning. 

Thy brother by decree is banished ; 



EXPRESSION. 141 

If thou dost bend, and pray, and fawn for him, 
I spurn thee like a cur out of my way. 
Know, Csesar doth not wrong-, nor without cause 
Will he be satisfied. 

6. But wherefore do you droop 1 Why look you sad ! 
Be great in act as you have been in thought ; 

Let not the world see fear and sad distrust 

Govern the motion of a kingly eye : 

Be stirring as the time ; be fire with fire, 

Threaten the threatener, and outface the brow 

Of bragging honor : so shall inferior eyes, 

That borrow their behaviors from the great, 

Grow great by your example ; and put on 

The dauntless spirit of resolution ; 

Show boldness and aspiring confidence. 

What, shall they seek the lion in his den, 

And fright him there, and make him tremble there ?— 

Oh let it not be said !— Forage, and run, 

To meet displeasure farther from the doors, 

And grapple with him ere he come so nigh. 

7. How comes it, Cassio, you are thus forgot, 
That you unlace your reputation thus, 
And spend your rich opinion for the name 
Of a night brawler 1 Give me answer to it. 

8. As I was banished, I was banished Hereford ; 
But as I come, I come for Lancaster : 

And, noble uncle, I beseech your grace, 
Look on my wrongs with an indifferent eye : 
You are ray father, for, methinks, in you 
I see old Gaunt alive; 0, then, my father! 
Will you permit that I should stand condemned 
A wandering vagabond ; my rights and loyalties 
Plucked from my arms perforce, and given away 
To upstart spendthrifts 1 Wherefore was I born 1 
If that my cousin king be king of England, 
It must be granted, I am duke of Lancaster. 



142 MANUAL OF ELOCUTION, 

You have a son, Aumerle, my noble kinsman ; 
Had you first died, and he been thus tied down, 
He should have found his uncle Gaunt a father, 
To rouse his wrongs, and chase them to the bay. 
I am denied to sue my livery here, 
And yet my letters-patent give me leave : 
My father's goods are all distrained and sold, 
And these, and all, are all amiss employed. 
What would you have me do T I am a subject, 
And challenge law : attorneys are denied me ; 
And therefore personally I lay my claim 
To my inheritance of free descent. 

9. To whom the goblin full of wrath replied : 
" Art thou that traitor Angel, art thou he, 

Who first broke peace in heaven and faith, till then 

Unbroken, and in proud rebellious arms 

Drew after him the third part of Heaven's sons, 

Conjured against the Highest, for which both thou 

And they, outcast from God, are here condemned 

To waste eternal days in wo and pain 1 

And reckon'st thou thyself with spirits of heaven, 

Hell-doom'd, and breath'st defiance here and scorn 

Where 1 reign king ] and, to enrage the more, 

Thy king and lord ! Back to thy punishment, 

False fugitive, and to thy speed add wings, 

Lest with a whip of scorpions I pursue 

Thy lingering, or with one stroke of this dart 

Strange horrors seize thee, and pangs unfelt before." 

10. I conjure you by that which you profess, 
(Howe'er you come to know it,) answer me ; 
Though you untie the winds, and let them fight 
Against the churches ; though the yesty waves 
Confound and swallow navigation up ; 

Though bladed corn be lodged, and trees blown down ; 
Though castles topple on their warder's heads ; 
Though palaces and pyramids do slope 
Their heads to their foundations ; though the treasure 






EXPRESSION. 143 

Of nature's germins tumble altogether, 
Even till destruction sicken, answer me 
To what I ask you. 

11. Thou slave, thou wretch, thou coward, 
Thou little valiant, great in villainy ! 
Thou ever strong upon the stronger side ! 
Thou fortune's champion, that dost never fight 
But when her humorous ladyship is by 
To teach thee safety ! 

Note. — It is by the use of these symbols of expression, that man 
maintains his authority over the domestic animals ; and these are 
among the first which children learn to interpret. So universally 
are these employed to express their appropriate sentiments, that 
they are sometimes heard on a clause occurring in a member whose 
current melody presents the Rising Slide ; thus, — " If a brother or 
sister be naked, and destitute of daily food, and one of you say 
unto him, Depart in peace, be ye warmed and filled — notwithstanding 
ye give them not those things which are needful to the body : what 
doth it profit!" 

12. The following directions of Hamlet to the players, 
exhibit a good specimen of the Didactic style of delivery. 

" Speak the speech, I pray you, as 1 pronounce it to you, trip- 
pingly on the tongue. But if you mouth it as many of our players 
do, I had as lief the town-crier spoke my lines. And do not saw 
the air too much with your hand, thus; but use all gently; for 
in the very torrent, tempest, and, as I may say, whirlwind of your 
passion, you must acquire and beget a temperance that may give it 
smoothness. 

"Be not too tame neither; but let your own discretion be your 
tutor. Suit the action to the word, the word to the action ; with 
this special observance, that you overstep not the modesty of nature : 
for any thing so overdone is from the purpose of playing; whose 
end, both at the first and now, was and is, to hold as 'twere the 
mirror up to nature ; to show Virtue her own feature, Scorn her 
own image, and the very age and body of the Time his form and 
pressure. Now this overdone, or come tardy off, though it make 
the unskilful laugh, cannot but make the judicious grieve; the 



144 MANUAL OF ELOCUTION. 

censure of one of which, must in your allowance overweigh a whole 
theatre of others. 

"And let those that play your clowns speak no more than is set 
down for them ; for there be of them that will themselves laugh, to 
set on some quantity of barren spectators to laugh too; though in 
the meantime, some necessary part of the play be then to be consi- 
dered. That's villainous, and shows a most pitiful ambition in the 
fool that uses it." 

Energy. 
Energy in the expression of any of the passions, and 
earnestness of utterance, are uniformly characterized by 
Force or Loudness, combined with the Downward Slides, 
and the Radical or Compound Stress. Great vehemence of 
feeling authorizes the full exhibition of the Vibrant R, and 
of the Aspiration, as well as the use of the Emphatic Vo- 
cule at the close of those emphatic words which end with 
a mute. Energetic expression sometimes passes into the 
Falsette, but then it loses all its dignity. 

As energy is a quality of utterance which never exists 
but in connection with some passion or excitement as its 
cause, it will more properly find its general illustrations 
under other heads. A single example, however, will be 
presented of the application of each of the last mentioned 
symbols of expression. 

1. In the following example, the r is put in italics, 
wherever it should be made vibrant as a symbol of 
energy. 

Pent in this fortress of the North, 

Think'st thou we will not sally forth, 

To spoil the spoiler as we may, 

And from the robber rend the prey ? 

Ay, by my soul ! — while on yon plain 

The Saxon rears one shock of grain ; 

While, of ten thousand herds, there strays 



EXPRESSION. 145 

.• 

But one along yon river's maze — 

The Gael, of plain and river, heir, 

Shall with strong hand, redeem his share. 

Where live the mountain chiefs who hold 

That plundering lowland field and fold 

Is aught but retribution true 1 

Seek other cause 'gainst .Roderick Dhu. 

2. The Aspiration should be distinctly heard on the 
word fear, in the following earnest interrogation. 

Brutus. What means this shouting 1 I do fear, the people 

Choose Caesar for their king. 
Cassius. Ay, do you fear it 1 

Then must I think you would not have it so. 

3. The Vocule may be slightly heard in the following 
example, on the words in italics. When heard too dis- 
tinctly, or in improper places, it is a decided fault of de- 
livery. 

" Sir, I in the most express terms deny the competency of parlia- 
ment to do this act. I warn you do not dare to lay your hand on 
the constitution. I tell you, that if circumstanced as you are, you 
pass this act, it will be a nullity, and that no man in Ireland will 
be bound to obey it. 

" I make the assertion deliberately. I repeat it, and call on any 
man who hears me, to take down my words ; you have not been 
elected for this purpose, you are appointed to make laws, not legis- 
latures ; you are appointed to exercise the functions of legislators, 
and not to transfer them ; and if you do so, your act is a dissolu- 
tion of the government; you resolve society into its original ele- 
ments, and no man is bound to obey you. — Are you competent to 
transfer your legislative rights to the French council of five hun- 
dred 1 Are you competent to transfer them to the British parlia- 
ment ? I answer, — No. When you transfer you abdicate, and the 
great original trust reverts to the people from whom it issued. 
Yourselves you may extinguish, but parliament you cannot ex- 
tinguish." 

13 



146 MANUAL OF ELOCUTION. 






Rage, Anger, Wrath. 

The expression of these malevolent feelings, combines 
with the elements of Energy, Quick Time and Short Quan- 
tity. Great violence in the expression of these emotions is 
also characterized by frequent and great Discrete Changes 
of Pitch and by wide Downward Intervals on the emphatic 
words, which may at the same time be marked by the 
Guttural Voice and by strong Aspiration. This is also the 
expression of Severe Rebuke. 

Examples. 

1. Tut! tut! 

Grace me no grace, nor uncle me no uncle, 

I am no traitor's uncle ; and that word — grace 

In an ungracious mouth is but profane ; 

Why have those banished and forbidden legs 

Dared once to touch a dust of England's ground ? 

But more than why — Why have they dared to march 

So many miles upon her peaceful bosom ; 

Frighting her pale-faced villages with war, 

And ostentation of despised arms 1 

Com'st thou because the anointed king is hence ? 

Why, foolish boy, the king is left behind, 

And in my loyal bosom lies his power. 

Were I but now the lord of such hot youth 

As when brave Gaunt, thy father, and myself 

Rescued the Black Prince, that young Mars of men, 

From forth the ranks of many thousand French ; 

Oh, then, how quickly should this arm of mine, 

Now prisoner to the palsy, chastise thee, 

And minister correction to thy fault ! 

2. Cassius. That you have wronged me doth appear in this ; 

You have condemned and noted Lucius Pella, 
For taking bribes here of the Sardians ; 
Wherein, my letters, praying on his side, 
Because I knew the man, were slighted of. 
Brutus. You wronged yourself to write in such a ease, 



EXPRESSION. 147 

Cassius. In such a time as this, it is not meet 

That every nice offence should bear his comment. 

Brutus. Let me tell you, Cassius, you yourself 

Are much condemned to have an itching palm ; 
To sell and mart your offices for gold, 
To undeservers. 

Cassius. I an itching palm 1 

You know that you are Brutus that speak this, 
Or, by the gods, this speech were else your last. 

Brutus. The name of Cassius honors this corruption, 

And chastisement doth therefore hide his head. 

Cassius. Chastisement ! 

Brutus. Remember March, the ides of March remember! 
Did not great Julius bleed for justice' sake % 
What villain touched his body that did stab 
And not for justice? What, shall one of us, 
That struck the foremost man of all this world, 
But for supporting robbers ; shall we now 
Contaminate our fingers with base bribes? 
And sell the mighty space of our large honors 
For so much trash as may be grasped thus ? — 
I had rather be a dog, and bay the moon, 
Than such a Roman. 

Cassius. Brutus, bay not me, 

I'll not endure it ; you forget yourself, 
To hedge me in ; I am a soldier, I, 
Older in practice, abler than yourself 
To make conditions. 

Brutus. Go to ; you're not, Cassius. 

Cassius. I am. 

Brutus. I say, you are not. 

Cassius. Urge me no more, I shall forget myself ; 

Have mind upon your health, tempt me no further. 

Brutus. Away, slight man ! 

Cassius. Is't possible? 

Brutus. Hear me, for I will speak. 

Must I give way and room to your rash choler? 
Shall I be frighted, when a madman stares % 



148 MANUAL OF ELOCUTION. 

Cassius. ye gods! ye gods ! Must I endure all this ? 

Brutus. All this 1 ay, more ; Fret till your proud heart break ; 
Go, show your slaves how choleric you are, 
And make your bondmen tremble. Must I budge 1 
Must I observe you 1 Must I stand and crouch 
Under your testy humor 1 By the gods, 
You shall digest the venom of your spleen, 
Though it do split you : for, from this day forth, 
I'll use you for my mirth, yea, for my laughter, 
When you are waspish. 

Cassius. Is it come to this 1 

Brutus. You say you are a better soldier : 

Let it appear so ; make your vaunting true, 

And it shall please me well : For mine own part 

I shall be glad to learn of noble men. 

3. Let me look back upon thee, thou wall, 
That girdlest in those wolves ! 

Plagues, incident to men, 

Your potent and infectious fevers heap 
On Athens, ripe for stroke ! thou cold sciatica, 
Cripple our senators, that their limbs may halt 
As lamely as their manners ! lust and liberty 
Creep in the minds and marrows of our youth; 
That 'gainst the stream of virtue they may strive, 
And drown themselves in riot ! itches, blains, 
Sow all the Athenian bosoms ; and their crop 
Be general leprosy ! breath infect breath ; 
That their society, as their friendship, may 
Be merely poison! Nothing I'll bear from thee, 
But nakedness, thou detestable town ! 
Take thou that too, with multiplying banns! 
Timon will to the woods, where he shall find 
The unkindest beast more kinder than mankind. 
The gods confound (hear me, ye good gods all,) 
The Athenians both within and out that wall ! 
And grant, as Timon grows, his hate may grow 
To the whole race of mankind, high and low. 



EXPRESSION. 149 

Malice, Hate, Revenge, &c. 

These modifications of the malevolent feelings, with the 
kindred sentiments, Indignation, Aversion, Abhorrence, 
Envy, Jealousy, Disgust, and the language of Shaming 
Rebuke, have less of Energy in their expression than the 
preceding, and more of Deliberation. Combined with 
Force, the Aspiration, and a harsh Guttural voice then, we 
here employ a Longer Quantity, which admits both the 
Wave and the Vanishing Stress ; and with the Wave even 
the Median Stress may be combined. These elements 
properly combined furnish a form of expression of great 
power and significancy. 

Examples. 

1. How like a fawning 1 publican he looks : 
I hate him, for he is a Christian, 

But more for that in low simplicity 

He lends out monej'' gratis, and brings down 

The rate of usance here with us in Venice. 

If I can catch him once upon the hip, 

I will feed fat the ancient grudge I bear him. 

He hates our sacred nation; and he rails 

Even there, where merchants most do congregate, 

On me, my bargains, and my well-won thrift, 

Which he calls interest. Cursed be my tribe, 

If I forgive him. 

2. Poison be their drink, 
Gall, worse than gall, the daintiest meat they taste ; 
Their sweetest shade a grove of cypress trees, 
Their sweetest prospects murdering basilisks, 
Their softest touch as smart as lizard's stings, 
Their music frightful as the serpent's hiss, 

And boding screech-owls make the concert full ; 
All the foul terrors of dark-seated hell. 

13* 



150 MANUAL O F ELOCUTION. 

3. I know not ; if they speak but truth of her 

These hands shall tear her; if they wrong her honor 

The proudest of them shall well hear of it. 

Time hath not yet so dried this blood of mine, 

Nor age so eat up my invention, 

Nor fortune made such havoc of my means, 

Nor my bad life 'reft me so much of friends, 

But they shall find awaked in such a kind, 

Both strength of limb and policy of mind, 

Ability in means, and choice of friends, 

To quit me of them thoroughly. 

4. Aside the devil turned 
For envy, yet, with jealous leer malign, 

Eyed them askance, and to himself thus plained. 
" Sight hateful, sight tormenting! thus these two 
Imparadised in one another's arms, 
The happier Eden, shall enjoy their fill 
Of bliss on bliss ; while I to hell am thrust, 
Where neither joy, nor love, but fierce desire, 
Among our other torments not the least, 
Still unfulfilled, with pain of longing pines." 

5. This fellow's of exceeding honesty, 

And knows all qualities with a learned spirit 
Of human dealings ; if I do prove her haggard, 
Though that her jesses were my dear heart-strings, 
I'd whistle her off and let her down the wind 
To prey at fortune. Haply, for I am black, 
And have not those soft parts of conversation 
That chamberers have ; or, for I am declined 
Into the vale of years ; — yet that's not much ; — 
She's gone, I am abused, and my relief 
Must be — to loathe her. Oh the curse of marriage, 
That we can call these delicate creatures ours, 
And not their appetites ! 

6. Thou slave, thou wretch, thou coward, 

Thou little valiant, great in villainy ! 




EXPRESSION. 151 

Thou ever strong upon the stronger side ! 
Thou fortune's champion, thou dost never fight, 
But when her humorous ladyship is by 
To teach thee safety ! thou art perjured too, 
And sooth'st up greatness. What a fool art thou, 
A ramping fool ; to brag, and stamp, and swear, 
Upon my party ! Thou cold-blooded slave, 
Hast thou not spoke like thunder on my side, 
Been sworn my soldier 1 Bidding me depend 
Upon thy stars, thy fortune and thy strength 1 
And dost thou ^iow fall over to my foes 1 
Thou wear a lion's hide ! doff it for shame 
And hang a calf's skin on those recreant limbs. 

7. I remember a mass of things, but not distinctly ; a quarrel, 
nothing wherefore. O that men should put an enemy in their 
mouths to steal away their brains ! that we should with joy, plea- 
sure, revel, applause, transform ourselves into beasts ! I will ask 
him for my place again ; he shall tell me I am a drunkard : Had I 
as many mouths as Hydra, such an answer would stop them all. 
To be now a sensible man, by and by a fool, and presently a beast ! 
O strange ! every inordinate cup is unblessed, and the ingredient 
is a devil. 

8. What though the field be lost ? 
All is not lost ; the unconquerable will, 

And study of revenge, immortal hate, 
And courage never to submit or yield, 
And what is else not to be overcome ; 
That glory never shall his wrath or might 
Extort from me. To bow and sue for grace 
With suppliant knee, and deify his power, 
Who from the terror of this arm so late 
Doubted his empire; that were low indeed! 
That were an ignominy and shame beneath 
This downfall ! since by fate the strength of gods 
And this empyreal substance cannot fail, 
Since, through experience of this great event, 



152 MANUAL OF ELOCUTION. 

In arms not worse, in foresight much advanced, 
We may with more successful hope, resolve 
To wage, by force or guile, eternal war; 
Irreconcilable to our great foe, 
Who now triumphs, and in the excess of joy, 
Sole reigning, holds the tyranny of heaven. 

9. Banished from Rome ! what's banished, but set free 
From daily contact of the things I loathe ? 
"Tried and convicted traitor !" Who says this 1 
Who'll prove it, at his peril, on my head ? 
Banished 1 I thank you for't. It breaks my chain ! 
I held some slack allegiance till this hour — 
But now my sword's my own. Smile on, my lords ; 
I scorn to count what feelings, withered hopes, 
Strong provocations, bitter, burning wrongs, 
I have within my heart's hot cells shut up, 
To leave you in your lazy dignities. 
But here I stand and scoff you : — here I fling 
Hatred and full defiance in your face. 
Your Consul's merciful. For this all thanks. 
He dares not touch a hair of Catiline. 
" Traitor !" I go— but I return. This— trial ! 
Here I devote your senate ! I've had wrongs, 
To stir a fever in the blood of age, 
Or make the infant's sinews strong as steel. 
This day's the birth of sorrows !— This hour's work 
Will breed proscriptions. — Look to your hearths, my lords. 
For there henceforth shall sit, for household gods, 
Shapes hot from Tartarus ! — all shames and crimes ; — 
Wan treachery, with his thirsty dagger drawn ; 
Suspicion poisoning his brother's cup ; 
Naked rebellion with the torch and axe, 
Making his wild sport of your blazing thrones ; 
Till anarchy comes down on you like night, 
And massacre seals Rome's eternal grave. 



EXPRESSION. 153 

III Humor. 

Under this head we may enumerate Dissatisfaction, 1 
Peevishness, Discontent, Impatience, Petulance, Repining, 
Vexation and Chagrin. The elements essential to the ex- 
pression of these sentiments are the Guttural harshness of 
voice and the Wave of the Semitone. The Radical or 
Vanishing Stress prevails according as the utterance is 
hurried or more slow ; and on emphatic syllables of long 
quantity the use of the Double and Unequal Wave height- 
ens the effect of the expression. Impatience sometimes 
raises the voice to Loudness, and the Falsette even may be 
heard in the whine of peevishness. As these sentiments 
never occur in grave delivery, we shall illustrate them by 
but a single example. 

Troilus. What, art thou angry, Pandarus 1 What, with me 1 

Pandarus. Because she is kin to me ; therefore she's not so fair 
as Helen ; an she were not kin to me, she would be as fair on Fri- 
day, as Helen is on Sunday. But what care 1 1 I care not an she 
were a blackamoor, 'tis all one to me. 

Troi. Say I, she is not fair 1 

Pan. I do not care whether you do or no. She's a fool to stay 
behind her father : let her to the Greeks — and so I'll tell her the 
next time I see her — for my part, I'll meddle nor make no more in 
the matter. 

Troi. Pandarus, 

Pan. Not I. 

Troi. Sweet Pandarus, 

Pan. Pray you speak no more to me;— I will leave all as I 
found it, and there's an end. 

Scorn, Sneer, Contempt, &c. 
Dignified Scorn, and the Sneer require for their expres- 
sion Long Quantity, a good degree of Force, and, on the 
emphatic words, the Vanishing Stress or Aspiration, com- 



154 MANUAL OF ELOCUTION. 

bined with the Concrete Rise or Fall through a Third or 
Fifth, or with the Single Waves, either Direct or Inverted. 
In the stronger expression of these sentiments, as also in 
Derision, Scoffing, Mockery, and Execration, the Vanishing 
Stress, the Aspiration, the Guttural Emphasis and the Tre- 
mor may all be combined on the Downward Concrete or 
the Waves, which may be extended through an Octave. 
And the effect will be greatly heightened, if, instead of the 
Equal and Single Waves, the Unequal Double Waves be 
employed. When however the Aspiration or the Guttural 
force is given on the Waves, it must be understood to be 
confined to its last constituent. 

Examples. 

1. Satan beheld their plight, 

And to his mates thus in derision called : 

" O friends, why come not on those victors proud 1 

Ere while they fierce were coming ; and when we, 

To entertain them fair with open front 

And breast, (what could we more 1 ?) propounded terms 

Of composition, straight they changed their minds, 

Flew off, and into strange vagaries fell, 

As they would dance : yet for a dance they seemed 

Somewhat extravagant and wild, perhaps 

For joy of offered peace ; but I suppose, 

If our proposals once again were heard, 

We should compel them to a quick result." 

2. Gaoler, look to him ; — Tell not me of mercy ; — 
This is the fool that lent our money gratis ; — 
Gaoler, look to him. 

Mirth, Raillery. 

Mirth and Raillery require Quick Time and Short Quan- 
tity, Loudness, and the Concrete Rise of the Second, com- 
bined with the Radical Stress. 



EXPRESSION. 155 

If these sentiments become excessive, they may raise the 
Toice to the Falsette, either by a Concrete rise of the Oc- 
tave, or by the Direct Wave of the same interval. — The 
combination of the Tremor also heightens the effect. 

Example. 

A fool, a fool ! — I met a fool i' the forest, 

A motley fool, a miserable varlet ; 

As I do live by food, I met a fool, 

Who laid him down, and basked him in the sun, 

And railed on lady Fortune in good terms ; 

In good set terms, and yet a motley fool 

Good morrow, fool, quoth I ; no, sir, quoth he, 

Call me not fool, till heaven hath sent me fortune : 

And then he drew a dial from his poke, 

And looking on it with lack-lustre eye, 

Says, very wisely, it is ten o'clock ; 

Thus may we see, quoth he, how the world wags ; 

'Tis but an hour ago since it was nine, 

And after one hour more 'twill be eleven, 

And so from hour to hour we ripe and ripe, 

And then from hour to hour we rot and rot, 

And thereby hangs a tale. When I did hear 

The motley fool thus moral on the time, 

My lungs began to crow like chanticleer, 

That fools should be so deep-contemplative ; 

And I did laugh, sans intermission 

An hour by his dial — noble fool ! 

A worthy fool ! motley's the only wear. 

Joy, Triumph, &c. 

Joy and Delight are more dignified in their expression, 
employing a longer Quantity, the Median Stress, and the 
Alternate Phrase of Melody. — Rapture, Triumph or Exul- 
tation adds to these elements the Tremor. 



156 MANUAL OF ELOCUTION. 

Example. 

O my soul's joy ! 
If after every tempest come such calms, 
May the winds blow till they have wakened death ! 
And let the laboring bark climb hills of seas 
Olympus high, and duck again as low 
As hell's from heaven ! If it were now to die, 
'Twere now to be most happy, for I fear 
My soul hath her content so absolute, 
That not another comfort like to this 
Succeeds in unknown fate. 






Astonishment, Admiration, Amazement. 

The dignified expression of these sentiments requires 
Long Quantity, a good degree of Force, and the Emphasis 
of the Downward Concrete, or of the Equal Direct Wave 
of the Third or Fifth combined with the Median Stress. 

Mirthful Wonder, or Surprise, may require the Down- 
ward Octave, or the Equal Single Direct Wave of that 
interval; and" as the utterance becomes more rapid, the 
Radical or Vanishing Stress is used. 

Aspiration may be connected with the simple Downward 
Slides ; though with the Waves it would express scorn, 
sneer, or contempt. 

Example. 

Sir Richard, what think you 1 Have you beheld, 

Or have you read, or heard ] or could you think 1 

Or do you almost think, although you see, 

That you do see 1 Could thought, without this object, 

Form such another 1 This is the very top, 

The height, the crest, or crest unto the crest 

Of Murder's arms : This is the bloodiest shame, 

The wildest savagery, the vilest stroke, 

That ever wall-eyed Wrath, or starving Rage, 

Presented to the tears of soft Remorse. » 



EXPRESSION. 157 


Plaintive Expression, Tenderness. 

The elements employed to express pathetic sentiments 
or tender emotion are few, but strongly marked. They are 
Softness of voice, Long Quantity, Slow Time and the 
Semitone, or the Direct and Inverted Waves of that inter- 
val, combined with the Median Stress. 

The sentiments which require the Chromatic Intonation 
are various and widely different from each other. The 
difference however is marked by the language rather than 
the intonation. Among other sentiments which may be 
thus expressed are, Awe, Complaint, Contrition, Penitence, 
Petition, Submission, Supplication, Fondness, Love, Pity, 
Compassion, Commiseration, Condolence, Mercy, Grief, 
Lamentation, and Sorrow. 

The simple rise and fall of the Semitone, or the Wave 
of that interval, is the most effective of the elements enu- 
merated above, for the expression of the tender and pathetic 
sentiments. The choice between the Simple Concrete and 
the Wave is determined by the degree of Dignity, in the 
sentiment expressed ; and this may be still further enhanced 
by combining with the other elements the Partial Drift of 
the Monotone. 

Many of the expressions which go under a common 
name, as Complaint and Supplication, vary essentially at 
different times in the degree of plaintiveness which they 
express. When this emotion is wanting, the Simple Con- 
crete and the Wave of the Second are substituted for those 
of the Semitone ; and on the contrary, w T hen this emotion 
becomes painfully strong, the Tremor and Aspiration are 
added to the Semitone, on the emphatic words of Long 
Quantity. Further to heighten the effect, the clauses may 

14 



158 MANUAL OF ELOCUTION. 

terminate with the Rising Slide, or the Inverted Wave of 
the Semitone ; and the Broken Melody may be employed. 
In the case of plaintive Exclamation, or whenever Sur- 
prise or Positiveness are to be connected with the Chroma- 
tic Melody, the Unequal Direct Wave is employed, the 
first constituent being a Semitone. 

Examples. 

1. We have erred and strayed from thy ways, like lost sheep. 
We have done those things which we ought not to have done, and 
have left undone those things we ought to have 'done, and there is 
no health in us. But thou, O ! Lord, have mercy upon us misera- 
ble offenders. Spare thou those, O ! God, who confess their faults. 
Restore thou those who are penitent, according to thy promises de- 
clared unto mankind in Christ Jesus our Lord. And grant, O ! 
most merciful Father, for his sake, that we may hereafter live a 
godly, righteous, and sober life, to the glory of thy holy name. 

2. Ah, Richard ! with the eyes of heavy mind, 
I see thy glory like a shooting star, 

Fall to the base earth, from the firmament! 
Thy sun sets weeping in the lowly west, 
Witnessing storms to come, wo, and unrest ; 
Thy friends are fled, to wait upon thy foes, 
And crossly to thy good all fortune goes. 

3. Seems, madam ! nay, it is ; I know not seems. 
'Tis not alone my inky cloak, good mother, 
Nor customary suits of solemn black, 

Nor windy suspirations of forced breath ; 
No, nor the fruitful river in the eye, 
Nor the dejected 'havior of the visage, 
Together with all forms, modes, shows of grief, 
That can denote me truly : These indeed seem, 
For they are actions that a man might play ; 
But I have that within, which passeth show; 
These but the trappings, and the suits of wo. 



EXPRESSION. 159 

4. Grief fills the room up of my absent child, 
Lies in his bed, walks up and down with me ; 
Pats on his pretty looks, repeats his words, 
Remembers me of all his gracious parts, 
Stuffs out his vacant garments with his form ; 
Then have I reason to be fond of grief. 

5. My mother! when I learned that thou wast dead, 
Say, wast thou conscious of the tears I shed 1 
Hovered thy spirit o'er thy sorrowing son, 
Wretch even then, life's journey just begun? 

I heard the bell tolled on thy burial day, 

I saw the hearse that bore thee slow away, . 

And, turning from my nursery window, drew 

A long, long sigh, and wept a last adieu. 

6. The laurel shoots when those have passed away, 
Once rivals for its crown, the brave, the free ; 
The rose is flourishing o'er beauty's clay, 

The myrtle blows when love has ceased to be, 
Green waves the bay when song and bard have fled, 
And all that round us blooms, is blooming o'er the dead. 

7. Death found strange beauty on that polished brow, 
And dashed it out. There was a tint of rose 

On cheek and lip ; — he touched the veins with ice 
And the rose faded. Forth from those blue eyes 
There spake a wishful tenderness — a doubt 
Whether to grieve or sleep, which innocence 
Alone may wear. With ruthless haste he bound 
The silken fringes of those curtaining lids 
For ever. There has been a murmuring sound, 
With which the babe would claim its mother's ear, 
Charming her even to tears. The spoiler set 
The seal of silence. But there beamed a smile 
So fixed and holy from that cherub brow — 
Death gazed, and left it there ; — he dared not steal 
The signet-ring of heaven. 



160 MANUAL OF ELOCUTION. 

8. Sleep on — sleep on — above thy corse 

The winds their Sabbath keep, — 
The wave is round thee — and thy breast 

Heaves with the heaving deep ; 
O'er thee, mild eve her beauty flings, 
And there the white gull lifts her wings ; 
And the blue halcyon loves to lave 
Her plumage in the holy wave. 

Sleep on — thy corse is far away, 

But love bewails thee yet — 
For thee the heart-wrung sigh is breathed, 

And lovely eyes are wet : — 
And she, the young and beauteous bride, 
Her thoughts are hovering by thy side : 
As oft she turns to view with tears 
The Eden of departed years. 

9. The thoughts are strange that crowd into my brain, 
While I gaze upward to thee. — It would seem 
As though God poured thee from his hollow hand, 
And spake in that loud voice which seemed to him 
Who dwelt in Patmos, for his Saviour's sake, 
The sound of many waters, and had bid 
Thy flood to chronicle the ages back, 
And notch his centuries in the eternal rock. 

10. In this example the words in italics, to be read with 
dramatic effect, should receive the Tremor. 

Forsake me not thus, Adam ! Witness, Heaven, 
W T hat love sincere, and reverence in my heart 
I bear thee, and unwitting have offended, 
Unhappily deceived ! Thy suppliant, 
I beg and clasp thy knees ; bereave me not, 
Whereon I live, thy gentle looks, thy aid, 
Thy counsel in this uttermost distress, 
My only strength and stay. Forlorn of thee, 
Whither shall I betake me, where subsist T 



EXPRESSION. 161 

While yet we live, scarce one short hour perhaps, 

Between us two let there be peace, both joining-, 

As joined in injuries, one enmity 

Against a foe by doom express assigned us 

That cruel Serpent. On me exercise not 

Thy hatred for this misery befallen ; 

On me already lost, me than thyself 

More miserable 1 Both have sinned ; but thou 

Against God only, I, against God and thee, 

And to the place of judgment will return, 

There with my cries importune Heaven, that all 

The sentence, from thy head removed, may light 

On me, sole cause to thee of all this wo ; 

Me, me only, just object of his ire! 

11. The dignity and deep pathos of the following stanzas 
cannot be fully expressed, but by the frequent union of the 
Monotone and the Tremor with the simpler elements of 
the Chromatic Melody. 

The king stood still 
Till the last echo died ; then, throwing off 
The sackcloth from his brow, and laying back 
The pall from the stiff features of his child, 
He bowed his head upon him, and broke forth 
In the resistless eloquence of wo : — 
" Alas ! my noble boy ! that thou shouldst die ! 

Thou, who wert made so beautifully fair ! 
That death should settle in thy glorious eye, 

And leave his stillness in this clustering hair ! 
How could he mark thee for the silent tomb, 

My proud boy, Absalom ! 
Cold is thy brow, my son ! and I am chill, 

As to my bosom I have tried to press thee. 
How was I wont to feel my pulses thrill 

Like a rich harp-string, yearning to caress thee, 
And hear thy sweet — 'my father,' from these dumb 
And cold lips, Absalom ! 

14* 



162 MANUAL OF ELOCUTION, 

The grave hath won thee. I shall hear the gush 

Of music, and the voices of the young ; 
And life will pass me in the mantling blush, 

And the dark tresses to the soft winds flung; — 
But thou no more, with thy sweet voice shall come 

To meet me, Absalom ! 
But, oh ! when I am stricken, and my heart, 

Like a bruised reed, is waiting to be broken, 
How will its love for thee, as I depart, 

Yearn for thine ear to drink its last deep token ! 
It were so sweet, amid death's gathering gloom, 

To see thee, Absalom ! 
And now, farewell ! 'Tis hard to give thee up, 

With death so like a gentle slumber on thee :— 
And thy dark sin! — Oh! I could drink the cup, 

If from this wo its bitterness had won thee. 
May God have called thee, like a wanderer, home, 

My erring Absalom !" 
He covered up his face, and bowed himself 
A moment on his child : then, giving him 
A look of melting tenderness, he clasped 
His hands convulsively, as if in prayer ; 
And, as a strength were given him of God, 
He rose up calmly, and composed the pall 
Firmly and decently, and left him there, 
As if his rest had been a breathing sleep. 

Pain. 

Mental Suffering and Bodily Pain, when not excessive, 
employ the vocal symbols of deep plaintiveness, even the 
Semitone, the Tremor, the Aspiration, and the Broken 
Melody. 

Excessive bodily pain however, often substitutes for 
feebleness of voice great Force — sometimes even on the 
Falsette. 



EXPRESSION. 163 

Example. 

Search there ; nay, probe me ; search my wounded reins — 

Pull, draw it out 

Oh, I am shot ! A forked burning arrow 

Sticks across my shoulders : the sad venom flies 

Like lightning through my flesh, my blood, my marrow. 

Ha ! what a change of torments I endure ! 

A bolt of ice runs hissing through my bowels : 

'Tis, sure, the arm of death, give me a chair; 

Cover me, for I freeze, and my teeth chatter, 

And my knees knock together. 

Secrecy, Apprehension, Fear, &c. 

Secrecy is expressed by that perfect Aspiration which we 
call the Whisper. 

Apprehension and Mystery combine the Aspiration with 
a suppressed voice. Curiosity, Suspicion, Eagerness, and 
Hope employ the same elements. 

Suppressed Fear speaks in an under tone, and combines 
with this kind of vocality both the Tremor and the Aspi- 
ration. 

Examples. 

1. Angels and ministers of grace defend us — 
Be thou a spirit of health, or goblin damned, 

Bring with thee airs from heaven, or blasts from hell, 

Be thy intents wicked or charitable, 

Thou comest in such a questionable shape 

That I will speak to thee. 

Save me and hover o'er me with your wings, 

You heavenly guards! — What would your gracious figure 1 ? 

2. Hah ! dost thou not see, by the moon's trembling light, 
Directing his steps, where advances a knight, 

His eye big with vengeance and fate? 

3. Then first, with amazement, fair Imogene found, 
That a stranger was placed by her side ; 



164 MANUAL OF ELOCUTION. 

His air was terrific, he uttered no sound ; 

He spoke not, he moved not, he looked not around, 

But earnestly gazed on the bride. 

4. Now, fair Hypolita, our nuptial hour 
Draws on-apace, four happy days brings in 
Another moon; but oh ! methinks, how slow 
This old moon wanes ! She lingers my desires, 
Like to a step-dame, or a dowager 
Long-withering out a young man's revenue. 

5. Alas ! I am afraid they have awaked, 

And 'tis not done ; the attempt, and not the deed, 

Confounds us Hark! — I laid the daggers ready, 

He could not miss them. Had he not resembled 
My father as he slept, I had done it.. 

Terror, Horror. 

When danger becomes imminent, fear bursts through all 
restraints, and the state of mind ensues which is called 
Terror ; and this is expressed by great Force of voice com- 
bined with the Downward Inflection and a strongly marked 
Aspiration. The voice of Terror sometimes breaks on the 
ear in the scream of the Falsette. 

Horror combines Force of voice and the Aspiration with 
the Guttural Harshness, which as an element of speech is 
never properly used but to give expression to the highest 
emotions of the mind. 

Interrogation. 

In Section V, of Chap. I, we deduced the principle that 
the Rising Slide is the prime element in Interrogation ; and 
though this is the universal symbol of doubt and uncer- 
tainty, yet that the Thorough Interrogative Intonation is 
given only in the case of the Direct Question. 

We are now to show how this Thorough form of Into- 



EXPRESSION. 165 

nation is modified by the conditions under which it is 
employed. 

The Unimpassioned Interrogation should employ the Con- 
crete Third and the Radical Stress. 

The more earnest question carries the voice through the 
Fifth, and may employ the Vanishing Stress ; as in the 

following example : — 

What! shall one of us, 
That struck the foremost men of all this world 
But for supporting robbers ; shall we now 
Contaminate our fingers with base bribes 1 
And sell the mighty space of our large honors, 
For so much trash, as may be grasped thus ] — 
I had rather be a dog, and bay the moon, 
Than such a Roman. 

Dignity or Solemnity of expression will never allow the 
use of a wider interval than the Fifth ; and where the 
question is characterized by these, Long Quantity and the 
Median Stress should prevail, and the Inverted Wave may 
take the place of the simple concrete. — Example: 
Are these the pompous tidings ye proclaim, 
Lights of the world, and demi-gods of Fame 1 
Is this your triumph — -this your proud applause, 
Children of Truth, and champions of her cause? 
For this hath science searched, on weary wing, 
By shore and sea — each mute and living thing 1 
Launched with Iberia's pilot from the steep, 
To worlds unknown, and isles beyond the deep 1 
Or round the cope her living chariot driven, 
And wheeled in triumph through the signs of Heaven 1 
Oh! star-eyed science, hast thou wandered there, 
To waft us home the message of despair ? 

Vaunting or Mirthful Interrogation carries the voice 
through an Octave ; and the Vanishing Stress increases the 
intensity of the inquiry, as in the following :— 



166 MANUAL OF ELOCUTION. 

Moneys is your suit. 
What should I say to you ? Should I not say ? 
Hath a dog money ? Is it possible 
A cur can lend three thousand ducats ? 

Derision and Exultation are heightened by the combina- 
tion of the Tremor with these symbols. 

The inquiry of Apprehension or Suspicion is characterized 
by the Aspiration. Examples :— 

1. Horatio. My lord, I think I saw him yesternight. 
Hamlet. Saw ! who ? 

Horatio. My lord, the king, your father. 
Hamlet. The king, my father ? 

2. Pray you, once more — 
Is not your father grown incapable 

Of reasonable affairs ? Is he not stupid 

With age and altering rheums? Can he speak, hear, 

Know man from man, dispute his own estate ! 

Lies he not bed-rid, and again does nothing 

But what he did being childish ? 

Angry or Authoritative Inquiry employs Loudness of 
voice, and the Radical or Compound Emphasis, according 
to the degree of emotion and the quantity of the emphatic 
syllable. Example : — 

'Zounds, show me what thou'lt do! 

Woul't weep ? woul't fight? woul't fast ? woul't tear thyself? 

Woul't drink up Esil ? eat a crocodile ? 

I'll do't. — Dost thou come here to whine ? 

To outface me by leaping in her grave ? 

Be buried quick with her, and so will I. 

Contempt and Surprise, add to the Compound Stress the 
Aspiration ; and Scorn, if strongly expressed, combines 
with these the Guttural quality of voice. 
Example of Surprise : — 
Gone to be married, gone to swear a peace ! 
False blood to false blood joined ! Gone to be friends ' 



EXPRESSION. 167 

Shall Lewis have Blanch ? and Blanch those provinces ? 
It is not so : Thou hast mis-spoke, mis-heard ; 
Be well advised, tell o'er thy tale again. 

Plaintive Interrogation is the exact opposite of plaintive 
Exclamation, and calls for the use of the Inverted instead 
of the Direct Wave ; — the first constituent being a Semi- 
tone and the last a Rising Third, Fifth, or Eighth. 

Irresolution, Modesty, &c. 

There is a class of emotions, not very closely allied to 
each other in their nature, yet which are expressed by 
nearly the same natural symbols. They have to be dis- 
tinguished by the artificial language to which the voice 
gives utterance. 

Irresolution, Doubt, Caution, Jlpathy, Humility, Modesty, 
Shame, Tranquillity, Fatigue, Drowsiness, and Weakness, 
though usually expressed in the Diatonic Melody, yet are 
characterized by Feebleness of voice, Slow Time, and oc- 
casionally by the Wave of the Second. Weakness indeed 
often employs the Broken Melody, and sometimes the Wave 
of the Semitone. 

Examples. 

1 . Adam. Dear master, I can go no farther : Oh, I die for food ! 
Here lie I down and measure out my grave. Farewell, kind master. 

Duke. Welcome : set down your venerable burden, 

And let him feed. 
Orla. I thank you most for him. 
Adam. So had you need ; 

I scarce can speak to thank you for myself. 

2. And wherefore should this good news make me sick ? 
I should rejoice now at this happy news, 

And now my sight fails, and my brain is giddy :— 

me ! come near me, now I am much ill. 

1 pray you take up and bear me hence 






168 MANUAL OF ELOCUTION. 



Into some other chamber ; softly, pray — 
Let there be no noise made, my gentle friends, 
Unless some dull and favorable hand, 
Will whisper music to my weary spirit. 

For further practice in Expression, judicious selections 
from dialogues and dramatic pieces are specially recom- 
mended. 



SECTION VI. 

OF TRANSITION. 



By Transition is meant those changes of style which 
may occur in the same discourse, and which depend en- 
tirely on the changes of sentiment which take place. And 
here is called into effective use every various element of 
melody. There is no capability of the human voice which 
may not be brought into requisition, for the expression of 
the varying sentiments of a single discourse. Here also 
may be brought near together the most opposite varieties 
of intonation. Few are aware how much depends on an 
agreeable variety in the melodies as well as in the into- 
nation of the voice. And it may with great propriety be 
remarked in passing, that the varying sentiment of what is 
uttered furnishes a basis of modulation, which, from the 
very nature of the case, excludes monotony and every 
species of mechanical variety. Indeed variety in intona- 
tion, depending on any other principle than this, becomes 
not less disagreeable than the most inflexible monotony ; 
and in fact, usually degenerates into a species of monotony, 
arising from the repetition of the same succession of 
sounds ; thus constituting a sort of regular tune. The 
more violent transitions are confined to the stage. In 



TRANSITION. 169 

poetry they are often called for, and should be more 
strongly marked in declamation than in reading. Even in 
ordinary prose composition, changes of sentiment occur, 
but are less violent and abrupt. 

After what has been said of the various elements of ex- 
pression, and of the mode of their combination, the learner 
cannot be at a loss to apply the principles already laid 
down, to the purposes of Transition. The following will 
serve as good examples for exercise ; and, except the first, 
they are left without rhetorical notation, that the learner 
may test his ability to detect changes of sentiment as they 
occur, as well as to apply the various symbols of emotion 
to their expression. 

Examples. 
1. Alexander's Feast. 

Narrative. 
1. 'Twas at the royal feast for Persia won 
By Philip's warlike son; 

Dignity. 
Aloft in awful state, 
The godlike hero sate 
On his imperial throne. 
Narrative. 
His valiant peers were placed around, 
Their brows with roses and with myrtle bound : 

Positiveness. 
So should desert in arms be crowned. 
Gayety. 
The lovely Thais, by his side, 
Sat like a blooming eastern bride, 
In flower of youth and beauty's pride. 
Delight. 
Happy, happy, happy pair : 
None but the brave, 
None but the brave, 

Triumph. 

None but the brave, deserve the fair. 
15 



170 MANUAL OF ELOCUTION. 

Narrative. 

2. Timotheus, placed on high, 

Amid the tuneful choir, 

With flying fingers touch'd the lyre : 
The trembling notes ascend the sky, 

And heavenly joys inspire. 
The song began from Jove, 
Who left his blissful seat above — 

Dignity. 

Such is the power of mighty love ! — 
A dragon's fiery form belied the god : 
Sublime on radiant spheres he rode, 
When he to fair Olympia pressed, 
And stamped an image of himself, a sovereign of the world. 
The listening crowd admire the lofty sound : 

Admiration. 
" A present deity !'' they shout around ; — 
"A present deity!" the vaulted roofs rebound. 
Narrative. 
With ravished ears 
The monarch hears, 

Dignity. 
Assumes the god, 
Affects to nod, 
And seems to shake the spheres. 

Narrative. 

3. The praise of Bacchus, then the sweet musician sung; 
Of Bacchus ever fair and ever young! 

The jolly god in triumph comes ! 

Gayety. 
Sound the trumpets ! beat the drums ! 
Flushed with a purple grace, 
He shows his honest face. 

Rapture. 

Now give the hautboys breath ! — He comes ! he comes 
Bacchus, ever fair and young, 
Drinking joys did first ordain. 
Delight. 

Bacchus' blessings are a treasure ; 
Drinking is the soldier's pleasure : 



^ TRANSITION. ;M 171 

Rich the treasure, 
Sweet the pleasure ; 
Sweet is pleasure after pain ! 
Narrative. 

4. Soothed with the sound, the king- grew vain ; 
Fought all his battles o'er again : 

Dignity. 

And thrice he routed all his foes, and thrice he slew the slain ! 

Narrative. 
The master saw the madness rise ; 

Earnest Description. 

His glowing cheeks, his ardent eyes : {rapidly.") 

Dignity. 

And while he heaven and earth defied, 

Narrative. 
Changed his hand, and checked his pride. 

5. He chose a mournful muse, 

Dignity. 
Soft pity to infuse : 
He sung Darius great and good ! 
By too severe a fate, 

Dignity and Compassion. 

Fallen! fallen! fallen! fallen!— 

Fallen from his high estate, 
And weltering in his blood ! 

Deserted at his utmost need 

By those his former bounty fed, 

On the bare earth exposed he lies, 

With not a friend to close his eyes ! 
With downcast look the joyless victor sate, 

Revolving, in his altered soul, 
The various turns of fate below; 

And now and then a sigh he stole, 
And tears began to flow ! 

Narrative. 

6. The mighty master smiled, to see 
That love was in the next degree : 
'Twas but a kindred sound to move ; 
For pity melts the mind to love. 



172 MANUAL OF ELOCUTION. 

Gayety. 

Softly sweet, in Lydian measures, 
Soon he soothed his soul to pleasures. 

Dignity. 
War, he sung, is toil and trouble ; 
Honor, but an empty bubble ; 
Never ending, still beginning, 
Fighting still, and still destroying. 

Gayety. 
If the world be worth thy winning, 
Think, oh think it worth enjoying ! 
Lovely Thais sits beside thee, 
Take the good the gods provide thee. 
Earnest Description. 

The many rend the skies with loud applause : 
So love was crowned ; but music won the cause. 

Narrative. 

7. The prince, unable to conceal his pain, 

Dignity. 
Gazed on the fair, 
Who caused his care, 
And sighed and looked, sighed and looked, 
Sighed and looked, and sighed again : 
At length, with love and wine at once oppressed, 

Drowsiness. 
The vanquish'd victor — sunk upon her breast ! 
Energy. 
S. Now strike the golden lyre again ! 
A louder yet, and yet a louder strain ! 
Break his bands of sleep asunder, 
And rouse him like a rattling peal of thunder ! 

Eagerness. 

Hark ! hark ! — the horrid sound 
Has raised up his head, 
As awaked from the dead : 

And, amazed, he stares around. 
Anger. 

9. Revenge ! revenge ! Timotheus cries — 
See the furies arise ! 
See the snakes that they rear, 



TRANSITION. 173 

How they hiss in their hair, 
And the sparkles that flash from their eyes ! {rapidly.) 
Behold a ghastly band, 
Each a torch in his hand ! 
These are Grecian ghosts, that in battle were slain, 
And, unburied, remain 
Inglorious on the plain. 
Give the vengeance due 
To the valiant crew ! 
Behold ! how they toss their torches on high, 
How they point to the Persian abodes, 
And glittering temples of their hostile gods. 
Earnest Description. 

10. The princes applaud, with a furious joy ; 

And the king seized a flambeau, with zeal to destroy 
Thais led the way, 
To light him to his prey ! 
Energy and Dignity. 
And, like another Helen, fired — another Troy. 
Narrative. 

11. Thus, long ago, 

Ere heaving bellows learned to blow, 
While organs yet were mute, 
Timotheus to his breathing flute 
And sounding lyre, 
Could swell the soul to rage, or kindle soft desire. 
Narrative. 

12. At last, divine Cecilia came, 
Inventress of the vocal frame. 

The sweet enthusiast, from her sacred store, 
Enlarged the former narrow bounds, 
And added length to solemn sounds, 
With nature's mother-wit, and arts unknown before. 
Dignity. 
Let old Timotheus yield the prize 

Or both divide the crown : 
He raised a mortal to the skies ; 
Gayety. 
She drew an angel down. — Dryden. 
15* 



174 MANUAL OF ELOCUTION. 

2. 
I know that virtue to be in you, Brutus, 
As well as I do know your outward favor. 
Well, honor is the subject of my story. — 
I cannot tell what you and other men 
5. Think of this life ; but, for my single self, 
I had as lief not be, as live to be 
In awe of such a thing as I myself. 
I was born free as Caesar, so were you : 
We both have fed as well ; and we can both 

10. Endure the winter's cold, as well as he. 
For once, upon a raw and gusty day, 
The troubled Tyber chafing with her shores, 
Caesar said to me, 'Dar'st thou, Cassius, now 
Leap in with me into this angry flood, 

15. And swim to yonder point V Upon the word, 
Accoutred as I was, I plunged in, 
And bade him follow : so, indeed, he did : 
The torrent roared, and we did buffet it 
With lusty sinews ; throwing it aside 

20. And stemming it with hearts of controversy. 
But ere we could arrive the point proposed, 
Caesar cried, 'Help me, Cassius, or I sink.' 
I, as JSneas, our great ancestor, 
Did from the flames of Troy upon his shoulder 

25. The old Anchises bear, so from the waves of Tyber 
Did I the tired Caesar: And this man 
Is now become a god ; and Cassius is 
A wretched creature, and must bend his body, 
If Caesar carelessly but nod on him. 

30. He had a fever when he was in Spain, 
And, when the fit was on him, I did mark 
How he did shake : 'tis true, this god did shake : 
His coward lips did from their color fly; 
And that same eye, whose bend doth awe the world, 
5. Did lose his lustre : I did hear him groan : 

Ay, and that tongue of his, that bade the Romans 
Mark him, and write his speeches in their books, 



TRANSITION. 175 

Alas ! it cried, ' Give me some drink,' Titinius, 
As a sick girl. Ye gods, it doth amaze me, 
40. A man of such a feeble temper should 
So get the start of the majestic world, 
And bear the palm alone. 

3. 

1. There was a sound of revelry by night; 
And Belgium's capital had gathered then 
Her beauty, and her chivalry, and bright 

The lamps shone o'er fair women and brave men : 
A thousand hearts beat happily ; and when 
Music arose with its voluptuous swell, 
Soft eyes looked love to eyes which spake again, 
And all went merry as a marriage-bell ; 
But hush! hark ! a deep sound strikes like a rising knell ! 

2. Did ye not hear it? — No; 'twas but the wind, 
Or the car rattling o'er the stony street : 

On with the dance ! let joy be unconflned ; 
No sleep till morn, when youth and pleasure meet 
To chase the glowing hours with flying feet — 
But hark ! — that heavy sound breaks in once more, 
As if the clouds its echo would repeat; 
And nearer, clearer, deadlier than before ! 
Arm! arm! it is — it is the cannon's opening Toar! 

3. Ah ! then and there was hurrying to and fro, 
And gathering tears, and tremblings of distress, 
And cheeks all pale, which but an hour ago 
Blushed at the praise of their own loveliness : 
And there were sudden partings, such as press 
The life from out young hearts, and choking sighs 
Which ne'er might be repeated ; — who could guess 
If ever more should meet those mutual eyes, 

Since upon night so sweet such awful morn could rise? 

4. 

Now when fair morn orient in heaven appeared, 
Up rose the victor Angels, and to arms 



176 MANUAL OF ELOCUTION. 

The matin-trumpet sang : in arms they stood 
Of golden panoply, refulgent host, 
5 Soon banded ; others from the dawning hills 

Looked round, and scouts each coast light-armed scour, 
Each quarter, to descry the distant foe, 
Where lodged or whither fled, or if for fight 
In motion or in halt : him soon they met 

10 Under spread ensigns moving nigh, in slow 
But firm battalion ; back with speediest sail 
Zophiel, of Cherubim the swiftest wing, 
Came flying, and in mid-air aloud thus cried. 

"Arm, warriors, arm for fight; the foe at hand, 

15 Whom fled we thought, will save us long pursuit 
This day ; fear not his flight : so thick a cloud 
He comes, and settled in his face I see 
Sad resolution and secure ; let each 
His adamantine coat gird well, and each 

20 Fit well his helm, gripe fast his orbed shield, 
Borne even or high ; for this day will pour down, 
If I conjecture ought, no drizzling shower, 
But rattling storm of arrows barbed with fire." 

So warned he them, awarethemselves, and soon 

25 In order, quit of all impediment ; 

Instant without disturb they took alarm, 
And onward move embattled : when behold 
Not distant far with heavy pace the foe 
Approaching, gross and huge, in hollow cube 

30 Training his devilish enginery, impaled 

On every side with shadowing squadrons deep, 
To hide the fraud. At interview both stood 
A while; but suddenly at head appeared 
Satan, and thus was heard commanding loud. 

35 " Vanguard, to right and left the front unfold ; 

That all may see w r ho hate us, how we seek 
Peace and composure, and with open breast 
Stand ready to receive them, if they like 
Our overture, and turn not back perverse : 

40 But that I doubt; however witness Heaven, 



TRANSITION. 177 

Heaven witness thou anon, while we discharge 
Freely our part ; ye who appointed stand, 
Do as you have in charge, and briefly touch 
What we propound, and loud that all may hear." 
45 So scoffing in ambiguous words, he scarce 

Had ended, when to right and left the front 
Divided, and to either flank retired. 

5. 

And David sat between the two gates ; and the watchman 
went up to the roof over the gate unto the wall, and lifted up his 
eyes and looked, and behold a man running alone. And the 
watchman cried, and told the king. And the king said, If he 
5 be alone, there is tidings in his mouth. And he came apace, 
and drew near. And the watchman saw another man running : 
and the watchman called unto the porter, and said, Behold an- 
other man running alone. And the king said, He also bringeth 
tidings. And the watchman said, Methinketh the running 

10 of the foremost is like the running of Ahimaaz the son of 
Zadok. And the king said, He is a good man, and cometh 
with good tidings. And Ahimaaz called, and said unto the king, 
All is well. And he fell down to the earth upon his face before 
the king, and said, Blessed be the Lord thy God, which hath 

15 delivered up the men that lifted up their hand against my lord 
the king. And the king said, Is the young man Absalom safe 1 
And Ahimaaz answered, When Joab sent the king's servant and 
me thy servant, I saw a great tumult, but I knew not what it 
was. And the king said unto him, Turn aside, and stand here. 

20 And he turned aside, and stood still. And, behold, Cushi came; 
and Cushi said, Tidings, my lord the king: for the Lord hath 
avenged thee this day of all them that rose up against thee. 
And the king said unto Cushi, Is the young man Absalom safe? 
and Cushi answered, The enemies of my lord the king, and all 

25 that rise up against thee to do thee hurt, be as that young man 
is. And the king was much moved, and went up to the cham- 
ber, over the gate, and wept : and as he went, thus he said, O 
my son Absalom, my son, my son Absalom ! would God I had 
died for thee, Absalom, my son, my son ! And it was told 






178 MANUAL OF ELOCUTION. 

30 Joab, Behold, the king weepeth and mourneth for Absalom. 
And the victory that day was turned into mourning unto all the 
people : for the people heard say that day, how the king was 
grieved for his son. And the people gat them by stealth that 
day into the city, as people being ashamed steal away when 

35 they flee in battle. But the king covered his face, and the king 
cried with a loud voice, O my son Absalom! O Absalom, my 
son, my son ! 

6. 

1. At midnight, in his guarded tent, 

The Turk was dreaming of the hour, 
When Greece, her knee in suppliance bent, 

Should tremble at his power ; 
In dreams, through camp and court, he bore 
The trophies of a conqueror ; 

In dreams his song of triumph heard ; 
Then wore his monarch's signet-ring, — 
Then pressed that monarch's throne, — a king ; 
As wild his thoughts, and gay of wing, 

As Eden's garden bird. 

2. An hour passed on — the Turk awoke ; 

That bright dream was his last ; 
He woke to hear his sentry's shriek, 
" To arms ! they come ! the Greek ! the Greek !" 
He woke — to die midst flame and smoke, 
And shout, and groan, and sabre-stroke, 

And death-shots falling thick and fast 
As lightnings from the mountain cloud ; 
And heard, with voice as trumpet loud, 

Bozzaris cheer his band ; 
" Strike — till the last armed foe expires, 
Strike — for your altars and your fires, 
Strike — for the green graves of your sires, 

God — and your native land !" 

3. They fought— like brave men, long and well, 

They piled that ground with Moslem slain, 
They conquered — but Bozzaris fell, 
Bleeding at every vein. 



TRANSITION. J79 

7. The Sinking Ship. 

Her giant form 

O'er wrathful surge, through blackening storm, 

Majestically calm, would go 

Mid the deep darkness white as snow ! 

But gentler now the small waves glide, 
5 Like playful lambs o'er a mountain's side. 

So stately her bearing, so proud her array, 

The main she will traverse for ever and aye. 

Many ports will exult at the gleam of her mast ! 

Hush ! hush ! thou vain dreamer ! this hour is her last. 
10 Five hundred souls, in one instant of dread 

Are hurried o'er the deck, 

And fast the miserable ship 

Becomes a lifeless wreck. 

Her keel hath struck on a hidden rock, 
15 Her planks are torn asunder, 

And down come her masts with a reeling shock, 

And a hideous crash like thunder. 

Her sails are draggled in the brine, 

That gladdened late the skies ; 
20 And her pendant, that kissed the fair moonshine, 

Down many a fathom lies. 

Her beauteous sides, whose rainbow hues 

Gleamed softly from below, 

And flung a warm and sunny flush 
25 O'er the wreaths of murmuring snow, 

To the coral rocks are hurrying down, 

To sleep amid colors as bright as their own. 
Oh ! many a dream was in the ship, 

An hour before her death ; 
30 And sights of home with sighs disturbed 

The sleeper's long-drawn breath. 

Instead of the murmur of the sea, 

The sailor heard the humming tree, 

Alive through all its leaves, 
35 The hum of the spreading sycamore 



180 MANUAL OF ELOCUTION. 

That grows before his cottage-door, 

And the swallow's song in the eaves. 

His arms enclosed a blooming boy, 

Who listened with tears of sorrow and joy 
40 To the dangers his father had passed ; 

And his wife, — by turns she wept and smiled, 

As she looked on the father of her child 

Returned to her heart at last. 

— He wakes at the vessel's sudden roll, 
45 And the rush of waters is in his soul. 

Astounded the reeling deck he paces, 

Mid hurrying forms and ghastly faces; — 

The whole ship's crew are there. 

Wailings around and over head, 
50 Brave spirits stupified or dead, 

And madness and despair. 

Now is the ocean's bosom bare, 

Unbroken as the floating air; 

The ship hath melted quite away, » 

55 Like a struggling dream at break of day, 

No image meets my wandering eye 

But the new-risen sun and the sunny sky. 

Though the night-shades are gone, yet a vapor dull 

Bedims the waves so beautiful ; 
60 While a low and melancholy moan 

Mourns for the glory that hath flown. 

8. Ode on the Passions. 
When Music, heavenly maid ! was young, 
While yet in early Greece she sung, 
The Passions oft, to hear her shell, 
Thronged around her magic cell ; 
5 Exulting, trembling, raging, fainting, 
Possessed beyond the muse's painting. 
By turns, they felt the glowing mind 
Disturbed, delighted, raised, refined : 
Till once, 'tis said, when all were fired, 
10 Filled with fury, rapt, inspired, 



TRANSITION. 181 

From the supporting myrtles round, 
They snatched her instruments of sound ; 
And, as they oft had heard apart, 
Sweet lessons of her forceful art, 
15 Each, for madness ruled the hour, 

Would prove his own expressive power. 

First, Fear, his hand, its skill to try, 
Amid the chords bewildered laid ; 
And back recoiled, he knew not why, 
20 E'en at the sound himself had made. 

Next Anger rushed, his eyes on fire, 

In lightnings owned his secret stings, 
In one rude clash he struck the lyre, 

And swept with hurried hand the strings. 

25 With woful measures, wan Despair — 

Low sullen sounds ! — his grief beguiled : 
A solemn, strange, and mingled air ; 
'Twas sad by fits, by starts 'twas wild. 

But thou, O Hope ! with eyes so fair, 
30 What was thy delighted measure ? 

Still it whispered promised pleasure, 
And bade the lovely scenes at distance hail. 
Still would her touch the strain prolong ; 
And from the rocks, the woods, the vale, 
35 She called on Echo still through all her song : 
And, where her sweetest theme she chose, 
A soft responsive voice was heard at every close ; 
And Hope, enchanted, smiled, and waved her golden hair. 

And longer had she sung — but, with a frown, 
40 Revenge impatient rose. 

He threw his blood-stained sword in thunder down ; 
And, with a withering look, 
The war-denouncing trumpet took, 
And blew a blast so loud and dread, 
45 Were ne'er prophetic sounds so full of wo ; 

16 



182 MANUAL OF ELOCUTION. 

And, ever and anon, he beat 
The doubling drum with furious heat : 
And though, sometimes, each dreary pause between, 
Dejected Pity at his side 
50 Her soul-subduing voice applied, 

Yet still he kept his wild unaltered mien, 
While each strained ball of sight — seemed bursting from his head. 

Thy numbers, Jealousy, to nought were fixed ; 
Sad proof of thy distressful state ! 
55 Of differing themes the veering song was mixed : 

And, now it courted Love ; now, raving, called on Hate. 

"With eyes upraised, as one inspired, 
Pale Melancholy sat retired ; 
And, from her wild sequestered seat, 
60 In notes, by distance made more sweet, 

Poured through the mellow horn her pensive soul, 
And, dashing soft from rocks around, 
Bubbling runnels joined the sound ; 
Through glades and glooms, the mingled measure stole, 
65 Or o'er some haunted stream, with fond delay, 

Round a holy calm diffusing, 
Love of peace, and lonely musing, 
In hollow murmurs died away. 

But, oh, how altered was its sprightlier tone! 

70 When Cheerfulness, a nymph of healthiest hue, 

Her bow across her shoulder flung, 

Her buskins gemmed with morning dew, 

Blew an inspiring air, that dale and thicket rung, 
The hunter's call, to Faun and Dryad known. 
75 The oak-crowned Sisters, and the chaste-eyed Queen, 

Satyrs and sylvan Boys were seen, 
Peeping from forth their alleys green ; 
Brown Exercise rejoiced to hear ; 
And Sport leaped up and seized his beechen spear. 

80 Last came Joy's ecstatic trial : 

He with viny crown advancing, 



TRANSITION. 183 

First to the lively pipe his hand addressed— 
But soon he saw the brisk awakening viol ; 
Whose sweet entrancing voice he loved the best. 
85 They would have thought who heard the strain 
They saw in Tempe's vale, her native maids, 
Amidst the festal-sounding shades, 

To some unwearied minstrel dancing : 
While, as his flying fingers kissed the strings, 
90 Love framed with Mirth a gay fantastic rounds 
Loose were her tresses seen, her zone unbound, 
And he, amidst his frolic play, 
As if he would the charming air repay, 
Shook thousand odors from his dewy wings. 

95 O Music, sphere-descended maid, 

Friend of Pleasure, Wisdom's aid, 

Why, goddess, why, to us denied, 

Layest thou thy ancient lyre aside 1 

As in that loved Athenian bower 
100 You learned in all-commanding power, 

Thy mimic soul, O nymph endeared, 

Can well recall what then it heard. 

Where is thy native simple heart, 

Devote to Virtue, Fancy, Art 1 
105 Arise, as in the elder time, 

Warm, energic, chaste, sublime ! 

Thy wonders, in that godlike age 

Fill thy recording sister's page — 

'Tis said, and I believe the tale, 
110 - Thy humblest reed could more prevail, 

Had more of strength, diviner rage, 

Than all which charms this laggard age, 

Even all at once together found, 

Cecilia's mingled world of sound — 
115 Oh, bid our vain endeavors cease, 

Revive the just designs of Greece ; 

Return in all thy simple state ; 

Confirm the tales her sons relate ! Collins. 



184 MANUAL OF ELOCUTION. 

SECTION VII. 

OF CADENCE. 

In treating of the Melodies of the Voice, it was remarked, 
that the falling tritone, when it occurs at the close of a 
sentence, constitutes the Cadence, and is called the Triad 
of the Cadence ; though we may now remark, that except 
in a single case the fall is confined wholly to the last two 
constituents. This suggests the peculiarity which charac- 
terizes the close of sentences, indicating to the ear that the 
sense is finished ; which is, a fall from the radical point of 
the syllable which precedes the Cadence through three 
tones, and terminating with a downward vanish. This is 
all that is essential to the full Cadence. The only practical 
questions which here arise for discussion are, — Where 
should the Cadence be given ? has it different forms ? and 
if so, what are they ? and by what principle is a preference 
given to the one or the other, in practice ? 

The Cadence always accompanies the period or full 
close, except when overruled by the emphasis of the 
rising intervals or of the inverted waves; and often ac- 
companies the Exclamation, the Indirect question, and the 
shorter rests usually marked by the dash, the colon, or 
even the semicolon. 

The form of the Cadence varies with the structure of the 
sentence, and with the sentiment ; and particularly with 
the quantity of the syllables of which it is constituted, and 
the degree of emphasis given to them. The Cadence may 
consist of three constituents, but more frequently has but two, 
or only one. For the sake of distinction, these are called 
the Triad, the Duad, and the Monad forms ; and under 
these divisions, are found variations, which, though they 



CADENCE. 185 

possess different degrees of perfection, yet add much to the 
harmony and variety of spoken language. — The following 
schedule, it is believed, presents even to the eye all the 
different forms of the Cadence authorized by the best 
usage ; and it will be found most convenient, in general, to 
refer to them us first, second, third, fourth, &c, in the order 
in which they are here enumerated. In the following dia- 
grams, the bar separates from the rest of the line the con- 
stituents which form the Cadence. 

I. The Triad. 

1. The first form, or falling triad, has three constitu- 
ents, with each the downward vanish. This produces the 
most perfect repose of the voice, next to the Prepared 
Cadence. 



Mean - time I'll 


keep 


you 


com 


- pa 


- ny. 


ef 


4 


4 


* 


a 




of * 4 








^ 


* 



Note. — When three or even four of the last syllables of a period 
are unaccented, this fall, which commences with the accented 
syllable, may be extended to all that follow it ; as, Thus did Job 
con-^Vi-u-al-ly. — We soon lost our confidence in his dis-tn-ter-es- 
ted-ness. 

II. The Duad Forms. 

2. In this form of the Cadence, the first tone is passed 
over by a discrete downward movement ; and each of the 
two constituents takes the downward vanish. 



Con 


■ gress 


was 


then 


in 


ses 


- sion. 


ff 


4 




-r 


<f 


ff\ 


w d w 


^ 


■* 



3. The third form differs from the second, only in 
16* 



186 



MANUAL OF ELOCUTION. 



giving the first constituent the rising vanish instead of 
the falling. 





The spir - it can 


- not al - ways sleep 


in dust. 


r 


**. f K 'jt 


d ^ * * 


^ 


[ ld r - 


# * 



4. The fourth form appropriates a concrete fall of two 
tones to the first constituent ; and terminates by a down- 
ward vanish on the second. 



Me -thought I heard Ho- ra - tio say to 


mor - row. 


d <4 d d 


- 


4 «f 4 4 4 * # 


x * 



III. The Monad Forms. 

5. This form passes over the first tone discretely, and 
appropriates the fall through the last two tones to a single 
syllable. 

De - scent and fall to us is ad - verse. 



w— * * * -g—*—*—^- y—\ 



6. This form of the Monad cadence appropriates the 
entire concrete fall to a single long syllable. 



My sen - tence 


is 


for 


o - pen 


war. 


4 <# etf 


*s 


*4 


4 * 


«l 1 





7. The seventh form of the cadence passes over the first 
two tones of the fall by a discrete skip ; and is called the 
False Cadence. 





Of wiles more 


un - 


ex - 


pert, 


I 


boast 


not. 


r " 


d6 


d 




— 4^- 


4 


4 




i 


V '* 4 




* 








* 



CADENCE. 187 

The first three forms are the only ones adapted to sylla- 
bles of short quantity, though they may be employed on 
others. The choice between these forms depends in part 
on the sentiment — whether it inclines to the rising or the 
falling movements ; but more frequently on the place of the 
accent. The fourth form requires the penultimate to be 
long ; and the fifth and sixth require long quantity in the 
final syllable. The seventh or false cadence is never given 
but when the last two syllables are so short as neither of 
them to admit of being prolonged through two tones; 
nor then, unless, through the unskillfulness of the 
reader, the penultimate syllable has been prevented 
from dropping into its natural position, as presented in 
the third form. 

The Prepared Cadence, which for the sake of uniformity 
may be designated the eighth form, is that which in good 
delivery is often heard at the close of a subject — whether 
of a paragraph, of a chapter, or a volume ; and it is un- 
doubtedly important, that such a close should be marked 
by some peculiar inflection which is readily cognizable by 
the ear. This is effected by a discrete fall of a third on 
some syllable preceding the close, and near enough to it 
to be naturally connected with it, by its effect upon the 
ear. This form of cadence is illustrated by the following 
notation : — 



Hope for a 


sea - son bade the 


world 


fare 


■ well ; 


iff 




tf 






# Hf 






<% 


• 



And free - dom 


shrieked as Kos - ci - 


us - 


ko 


fell. 


ef <f 'sf 


^ w . q0 


^ 








«£_! 1- 




f\ 


\ 



188 MANUAL OF ELOCUTION. 

So also the following example : — 



Let 


this 


be 


done, 


and Greece is 


safe. 


iitf 


«r 


-# 


-^ «f -rf 


fy ■ Sfc, 


tf- 




\ 



The effect of this form of cadence, in producing a per- 
fect close, may also be perceived in the following periods. 
Let the discrete fall occur on the syllables in Italics. 

1. So parted they; the angel up to heaven 
From the thick shade, and Ad-am to his bower. 

2. Strip him of his plu-mage, and you fix him to the earth. 

3. It is my living sentiment, and, by the blessing of God, it shall 
be my dying sentiment — independence now, and independence for 
ever. 

4. I have watched the fall of the last leaves in Underwalden ; I 
shall return to see them put forth once more, but when they fall 
a-gain, they will cover the grave of Hermann. 

5. If there be a tribunal, where the sins and the follies of a fro- 
ward child may hope for pardon and forgiveness this side heaven, 
that tribunal is the heart of a fond and devoted mother. 

6. The vestal flame of piety, lighted up by heaven in the 
breast of woman, diffuses its light and warmth over the world ; — 
and dark would be the world if it should ever be extinguished 
and lost. 

The only new element in this Prepared Cadence is the 
discrete fall of a third before described ; and this may be 
united with any of the first six forms of cadence enume- 
rated in this section, and thus may be used at the close of 
every paragraph. — It is also useful in giving notice of the 
close of a succession of particulars, as in the following 
examples :— 



CADENCE. 189 

1. Go and tell John what things ye have seen and heard; the 
blind see, the lame walk, the lepers are cleansed, the deaf hear, the 
dead are raised, and to the poor the gospel is preached. 

2. Thrice was I beaten with rods, once was I stoned, thrice I 
suffered shipwreck, a night and a day have I been in the deep. 

3. Thou shalt love the Lord thy God, with all thy heart, and with 
all thy soul, and with all thy strength, and with all thy mind, and 
thy neighbor as thyself. 

4. We are troubled on every side, yet not distressed ; perplexed, 
but not in despair; persecuted, but not forsaken; cast down, but 
not destroyed. 

The principal defects observed in readers and speakers 
in regard to the Cadence, are — its entire omission; an 
irregular fall near the close of the sentence, extending 
through more than three syllables ; so great a descent be- 
low the line of current melody, as to render the last con- 
stituent of the cadence inaudible ; the monotony which 
arises from using but one form; and the more common 
and perhaps less exceptionable error, of excluding quantity 
from the cadence altogether, and using only the first three 
forms. — -The careful study of this section, combined with 
suitable practice, cannot but correct all these defects where- 
ever they exist ; and attention to the cadence is the more 
important since it always occurs at the close of the sen- 
tence, when the mind of the hearer is most at liberty and 
most inclined to dwell on any defects that may be apparent 
in the speaker. The following examples will show the 
manner of applying in practice, the principles of this sec- 
tion — the numerals marking the form of cadence which 
may be used at each period. It is believed, the cadence 
selected in each case is the most appropriate ; though it is 



190 MANUAL OF ELOCUTION. 

not asserted, that in some cases there may not be liberty 
of choice.* 

I. Influence of the Dead on the Living. 

The relations between man and man cease not with life. 5 The 

dead leave behind them their memory, their example, and the 

effects of their actions. 2 Their influence still abides with us. 2 

Their names and characters dwell in our thoughts and hearts. 5 

[ 5 We live and commune with them in their writings. 4 We enjoy 
the benefit of their labors. 2 Our institutions have- been founded 
by them. 1 We are surrounded by the works of the dead. 5 Our 
knowledge and our arts are the fruit of their toil. 6 Our minds 
have been formed by their instructions. 2 We are most intimately 

10 connected with them by a thousand dependencies. 1 Those 
whom we hajfc loved in life, are still objects of our deepest and 
holiest affections. 2 Their power over us remains. 6 They are 
with us in our solitary walks ; and their voices speak to our 
hearts in the silence of midnight. 2 

15 Their image is impressed upon our dearest recollections, and 
our most sacred hopes. 6 They form an essential part of our 
treasure laid in heaven. 2 Far above all, we are separated from 
them but for a little time. 6 We are soon to be united with 
them. 1 If we follow in the path of those whom we have loved, 

20 we too shall soon join the innumerable company of the spirits 
of just men made perfect. 3 Our affections and our hopes are 
not buried in the dust, to which we commit the poor remains of 
mortality. 1 The blessed retain their remembrance and their 
love for us in heaven ; and we will cherish our remembrance and 

25 our love for them while on earth. 5 

Creatures of imitation and sympathy as we are, we look 
around us for support and countenance even in our virtues. 4 We 
recur for them most securely to the examples of the dead. 5 

* Note to the Teacher. — It is believed that the learner will 
derive essential advantage from a careful review, at this point, of 
the subject of the Diatonic Slides, p. 63 ; and, after having marked 
the emphatic words in some selections of plain narrative, then let 
him apply the rules and principles there developed, to the other por- 
tions, at the same time with the principles of this section. 



( . 

CADENCE. 191 

There is a degree of insecurity and uncertainty, about living- 

30 worth. 6 The stamp has not yet been put upon it, which pre- 
cludes all change, and seals it as a just object of admiration for 
future times. 5 There is no service which a man of commanding 
intellect can render to his fellow-creatures, better than that of 
leaving behind him an unspotted example. 2 

35 If he do not confer upon them this benefit; if he leave a 
character dark with vices in the sight of God, but dazzling with 
shining qualities to the view of men ; it may be that all his 
other services had better been forborne, and he had passed inac- 
tive and unnoticed through life. 3 It is a dictate of wisdom, 

40 therefore, as well as feeling, when a man, eminent for his virtues 
and talents, has been taken away, to collect the riches of his 
goodness, and add them to the treasury of human improvement. 4 
The true Christian liveth not for himself, and dieth not for him- 
self; and it is thus, in one xes-ped, that he dieth not for him- 

45 self. 8 Norton. 

II. Cato's Soliloquy. 

It must be so 6 — Plato, thou reasonest well ! 5 

Else, whence this pleasing hope, this fond desire, 
: This longing after immortality I 2 

Or, whence this secret dread, and inward horror, 
5 Of falling into nought ] 6 Why shrinks the soul 

Back on herself, and startles at destruction I 2 

'Tis the Divinity that stirs within us ; 

'Tis Heaven itself that points out — an hereafter, 

And intimates — eternity to man. 3 
10 Eternity I 1 — thou pleasing — dreadful thought ! 5 

Through what variety of untried being, 

Through what new scenes and changes must we pass ! 3 

The wide, the unbounded prospect, lies before me ; 

But shadows, clouds, and darkness, rest upon it. 2 
15 Here will I hold. 6 If there's a power above us — 

And that there is, all nature cries aloud 

Through all her works — He must delight in virtue ; 

And that which he delights in must be happy. 2 

But when ] or where ? This world — was made for Caesar. 4 



192 MANUAL OF ELOCUTION. 

20 I'm weary of conjectures — this must end them. 4 

[Laying his hand on his sword. 

Thus am I doubly armed. 1 My death and life, 

My bane and antidote, are both before me. 4 

This— in a moment, brings me to an end ; 

But this — informs me I shall never die. 6 
25 The soul, secured in her existence, smiles 

At the drawn dagger, and defies its point. — 6 

The stars shall fade away, the sun himself 

Grow dim with age, and nature sink in years ; 

But thou shalt flourish in immortal youth, 
30 Unhurt amid the war of elements, 

The wreck of mat-tei, and the crush of worlds. 8 

Addison, 



MEASURE OF SPEECH. 



CHAPTER III. 

GENERAL PRECEPTS. 



SECTION I. 

OF THE MEASURE OF SPEECH. 

It belongs rather to the physiologist than the elocutionist 
to explain the mechanism of the voice, and the causes 
which limit or regulate the exercise of its powers. It 
entirely falls in with our purpose however, to state the prin- 
ciples deduced from this mechanism, so far as it is under- 
stood, and the rules, by which a conformity to the laws of 
the voice is secured. Nor is this a matter of mere specu- 
lative interest, in as much as a conformity to these laws is 
absolutely essential to ease in the use of the vocal organs ; 
and on it are often suspended the health and even the life 
of the speaker. 

In the proper places, the principles of Time and of Ac- 
cent have been developed. It has long been conceived, 
that by the aid oil these, poetic numbers are capable of 
being subjected to measure. But by the light which mo- 
dern elocutionists have thrown on this subject, it appears 
that even the harmonious arrangements of verse are capable 
of a rhythmus in their vocal execution, which is not at 
all recognised by the principles of Prosody. 

The following lines are divided into prosodical feet, and 
each syllable is marked as long or short* according to the 
usual notation. 

* The terms long and short are here employed, as used by Eng- 
lish prosodists, with reference to accent and emphasis rather than 
quantity. 

17 



194 MANUAL OF ELOCUTION. 

F come-not frlends-to steal-away-your hearts; 
I" am-no 6r-ator,-as Bru-tus Is ; 
But as-you know-me all-a plain-blunt man, 
That 16ve-my friend ;-and that-they know-full well 
5 That gave-me pub-lie leave-to speak-6f him. 
For T-have nei-ther wit,-nor words,-nor worth, 
A"ction,-nor ut-terance,-nor the pow-er of speech, 
To stir-men's blood. — I" on-ly speak-right on : 
1° tell— you that-which you-yoiirselves-do know; 

10 Show yoii-sweet Cae-sar's wound s,-poor, poor-dumb mouths, 
A u nd bid-them speak-for me. — But were I"-Brutus, 
A u nd Bru-tus A"n-tony,-there were an-A"ntony 
Would ruf-fle up-yoiir spir-its, and put-a. tongue 
Fn ev-ery woiind-6f Cae-sar, thatr-shoiild move 

15 The stones-6f R6me-to rise-in mu-tiny. 

By examining these measures, it will be seen, that they 
vary in length from the hurried pyrrhic, consisting of two 
short syllables, to the long drawn spondee, heard on the 
words " men's blood." On the contrary, the measures 
into which the good reader or speaker divides his periods 
are, at least in theory, equal as to the time of their utter- 
ance ; and that, whether he is pronouncing verse or prose. 
The following divisions of the same passage will admit of 
being read by the vibrations of a pendulum, observing 
the rests indicated by the new symbol "1, here introduced. 
The poetic notation of heavy and light syllables is re- 
tained for convenience of future reference. 

~] T | come not, | friends, | **] to | steal a- | way your | 

hearts ; | ^ | 
I" am | no | orator, | ^ as | Brutus | Is ; | ^] \ 
But"*] | ^as you j know me J all, | "*]a | plain | blunt ^ | man, | 
"*] That | love my | friend; | ~p-] | ~] and | that^ | they | know | 

full | well | 
5 ^JThat | gave me | public | leave ^ to | speak of j him. | ^""J 

ITU 



MEASURE OF SPEECH. 195 

■*"] For | I" have J neither | wit, "*] | ^ nor | words, | "*] nor | 

worth, | Tl | 
A'ction, | ""] nor J utterance, | ""j nor the" j power of | speech, | 
^ To | stir | men's j blood. | T | I" | only J speak "-] | right ^ 

on: | Til 

T" | tell you | that^*] | ""] which j you your- j selves do J know; 

I Til 

10 Show you | sweety | Caesar's j wounds, | T J poor, | poor j 
dumb | mouths, j 
"-] A u nd | bid | them | speak ^ | for me. | Tl I Tl M But 

were j I" | Brutus, | 
^ A°nd | Brutus | A'ntony, J Tl | there were an | A'ntony | 
^ Woiild [ ruffle | up your | spirits, | ~] and | put a. | tongue j 
*"] Fn | every J wound of j Caesar, j ~] that should | move | 
15 ^ The | stones of | Rome | ^] to | rise in | mutiny. | Tl I Tl I 

1. These measures may consist of from one to four sylla- 
bles. The number may be extended to five, as in the 
third measure of the following line : — 1 In the | second | 
century of the | Christian | era. | This occurs but rarely 
in poetry ; and in deliberate reading, such measures would 
be divided, and a rest interposed, thus : — *1 In the | second 

| century | "1 of the | Christian | era. | 

2. Each measure contains one, and only one, heavy 
or accented syllable ; or else a rest to occupy the time de- 
voted to it. This will be seen by comparing the two 
notations. 

3. A single syllable of indefinite quantity may fill out a 
measure ; while accented syllables of shorter quantity 
standing alone should be followed by a short pause. 

4. The heavy syllable opens the measure, and thu§ the 
movement is in all cases from the heavy to the light sylla- 
bles ; and this movement should be distinctly marked by 
the voice, — a measure requiring but a single pulsative 
effort of the voice. 



106 MANUAL OF ELOCUTION. 

5. The measure, when consisting of a syllable of inde- 
finite quantity, or of one accented and one or more unac- 
cented syllables, — is called a Perfect Measure ; that which 
contains a rest is called an Imperfect, or Defective Measure. 

The principles of accent, as has been before said, de- 
pend on usage. Thus no rules can be laid down here, 
which would be of service to the learner. We may repeat 
however, that such is the law of our language that every 
word of more than one syllable has its accented syllable ; 
and it may be added, that among monosyllables, the pri- 
mary parts of speech are usually pronounced with the 
accentual stress, while the particles, except when made 
emphatic, fill the light portions of the measures. 

In all smooth and flowing verse, except the anapaestic, 
the measure of two syllables will prevail ; and in the ana- 
paestic the trisyllabic measure will predominate. The 
measure of Milton's and Shakspeare's verse will however 
be found remarkably unconstrained and varied. The mea- 
sures of common prose differ not from those of poetry, ex- 
cept that they exhibit a greater variety without any regular 
succession of similar measures ; and he whose ear has 
been thoroughly attuned to the rhythmus of speech, as ex- 
hibited in the principles and exercises of this section, at 
the same time cannot but have improved his taste for the 
beauties of composition. 

These principles will now be illustrated by a few ex- 
amples; and, in the absence of all accentual marks, we 
may repeat, that the principles laid down require in the 
perfect measure as also in the measure defective in 
the last constituent, that the first syllable be accented ; in 
measures defective in the first constituent, there is no ac- 
cented or heavy syllable. By carefully observing these 



MEASURE OF SPEECH. 197 

rules, the following exercises may be read by the learner, 
but at first with great deliberation ; afterwards more rapidly, 
and, when perfectly familiar with the notation, with entire 
freedom. — The movement of the voice from the heavy to 
the light syllables, so as to utter each measure by a single 
pulsative effort of the voice, and the attention to the rests, 
are considered more important than the perfect equality of 
the time of the measures. 

Examples.* 

1. 

Oh ! | lives there, | Heaven ! | "**] be- j neath thy | dread ex- | 
panse, | ^ | 
One | hopeless, | ^ | dark I- | dolater of | Chance, | T - ] | 
■"*] Con | tent to | feed "*] | ""] with | pleasures | unre- | fined, | 
""] The | lukewarm J passions | "*] of a | lowly | mind ; | ""p] | 
5 Who, j mouldering- | earthward | ^[*] | 'reft of | every J trust, | 
^ In | joyless | union | ^ ( wedded to the | dust, | 
_**[ Could | all his | parting | energy { ^] dis | miss ""j | 
'"I And | call | this | barren j world j "*] suf j ficient J bliss % "*] | 

Tl I Tl I 

^ There | live* | ^ a- | las ! ~| | ^ of | Heaven di- | rected | 
mien, | 

10 ^ Of | cultured | soul | ^ and | sapient | eye se- | rene, | 
^ Who | hail | thee, | man! | ^the | pilgrim of a | day, j ^ j 
Spouse of the | worm, j ""j and | brother of the | clay ! | ^\ \ 
Frail as the | leaf ~j | ~| in | Autumn's | yellow | bower, | "*[•] j 
Dust in the | wind | ^] or | dew upon the | flower ! J 

15 ^ A | friendless | slave | ^]a | child with- | out a | sire, | ^ | 
Whose | mortal | life ^ | ""] and | momentary j fire, | ^] j 
Light to the | grave | ^] his | chance-cre | ated | form, j 
s- ] As | Ocean J wrecks ^] | ^j il- j luminate the J storm ; | y *] y- | | 

* Note to the Teacher. — These exercises may be read with- 
out any disadvantage simultaneously by a whole class ; and indi- 
viduals particularly, who have formed a habit of too rapid reading, 
will be benefited by thus reading in concert. 

17* 



198 MANUAL OF ELOCUTION. 

"*] And [ when the ) gun's | ^j tre j mendous | flash is | o'er, | 
20 ~] To | Night and | Silence | sink ^ | ^ for | ever | more! | 

11 nil 

^Are j these | ^the | pompous | tidings | ye pro | claim, JT | 
Lights of the | world, | ^ and | demi-gods of | fame? | T j 
**] Is j this ""j | your | triumph, | T | this your | proud ap- | 

plause, | T | 
Children of | Truth, ^ | ^ and | champions j "*] of her j cause] 

I 11 I 11 I 
25 "1 For j this hath | Science | searched J ^*] on j weary | wing, 
""J By | shore and | sea — j ^ each | mute and J living [ thing 1 

[111 
Launched with I- J beria's j pilot | ""j from the | steep, ^ | 

""j To | world's un- | known, | ^j and | isles be- j yond the [ 

deep! | Til 

"I Or | round the | cope ~j | ^] her | living | chariot | driven, 

30 ~] And | wheeled in | triumph | ""j through the | signs of | 
heaven] | 11 | 11 I 
Oh ! | star-eyed | science, | "*] hast | thou J wandered | there, j 
""] To | waft us J home | "*] the J message of de- | spair ] — J 

111 
Then J bind the | palm, | T] I ^J I sa g e ' s I Drow to I suit,""] | 
^ Of | blasted | leaf ~] | ^ and | death-dis- | tilling | fruit !~| j 

11 I 11 I 
35 Ah | me ! | *"] the | laureled | wreath that | murder | rears, J 

111 
Blood-nursed, | ""] and | watered | ""j by the | widow's | tears, 

1111 

Seems | not so | foul, | "*] so J tainted, | "*] and so | dread, 

^] As | waves the j night-shade | TI I roun d the j skeptic j 
head. | Tl I 11 I Campbell. 

2. The Grave. 
1. There is a | calm | "*] for | those who j weep, > *| | Tl I 
^1 A | rest ""j | "*] for | wear y | pilgrims | found, | Tj I 
They | softly | lie j ^ and j sweetly | sleep,^ j T | 
Low | ^ in the | ground. Ml I 11 I 



MEASURE OF SPEECH. 199 

2. "*| The J storm | ""j that J wrecks the | wintery | sky | T j 
No | more dis- | turbs *] j their | deep re- | pose, | 

"""J Than | summer | evening's J latest | sigh, [ 

~j That j shuts |1 the 1 rose. | T I T I 

3. *-] I | long to | lay n this | painful | head ~] | 

""J And | aching | heart ~j | ^ be- | neath the j soil, | 
""*] To J slumber | ^ in that J dreamless | bed ""] j 

~| From J all n my | toil. | T | T | 

4. '"J For j misery | stole me J ^| at my | birth "*] | 

"*] And | cast me | helpless | > "] on the | wild : | T | 
^ 1 j perish; | T | O, my | mother | earth ! ~] | T | 

Take | home | ~] thy | child. | T I Tl I 

5. ^ On | thy | dear | lap *"] | these | limbs re- | clined, | 
"•J Shall | gently | moulder | ~] into | thee : | T | 

"*] Nor | leave J T | one | wretched | trace be- J hind, J 

T M Re- | sembling | me. | T I T I 

6. Hark ! "*] j ^ a | strange j sound j v- | af- | frights mine | ear; | 

Til 

"*] My j pulse, | ^ my | brain j runs | wild, | ~] I J rave ; | 
T I Ah ! I who art | thou | ^ whose | voice I | hear] | T \ 

Til 

" I | ^ am the | Grave ! | T I T I 

7. """j The | Grave, ^] | "■*] that J never | spake be- | fore, | 

^| Hath | found at | length a | tongue | ^ to | chide : | T I 
O | listen I | ' — ]' — ] | I will | speak no | more : | T | 

1 Be | silent, | T | Pride. | Tl I Tl I 

8. Art "*] | thou a J wretch, T ""1 of | no P e f° r " I l° m 5 I 
"*] The | victim | ^ of con- [ suming j care? | T J 
Is | thy dis- j tracted j conscience | torn | 

~]By |fellde-|spair? IT IT] 

9. ~] Do | foul mis- | deeds "-] H of | former | times | T I 
Wring with re- | morse | **] thy | guilty | breast ] ""J | 

"*] And | ghosts | ~| of | unfor- | given | crimes | T I 
Murder M thy | rest* ~j | T I T I 
10. Lashed by the \ furies | ^ of the | mind,^ | 

""J From | wrath and | vengeance | ^| wouldstthou | flee ? | T | 



200 MANUAL OF ELOCUTION. 

Ah ! | think not, | hope not, | fool ! -] j ^ to | find ~] | 
~) A | friend J~] in | me. | ^ j ~]~j 

11. ^ By | all the | terrors | "T] of the | tomb, | 

""] Be- | yond the | power of | tongue | ^ to | tell ! | 
"**] By the | dread J secrets j *"] of my J womb, [ 
~] By | death | ~] and | hell ! | 

12. ^ I | charge thee, | live ! | "*] re- | pent and | pray; j 
"•] In | dust thine | infamy | ~] de- | plore ; | 

There | yet is j mercy ; | ^ | go thy | way, | 

~] And | sin ~] j ^ no J more. | T1 I Tl I 

13. ~j What | e'er thy | lot,~] | ^ who | e'er thou | be, | 
^ Con- I fess thy | folly, | ^ | kiss the j rod, ~] | 
And in thy 1 chastening | sorrows | "f^ | see | 

-j The | hand \~\ of | God. ^|^|^| 

14. ^ A | bruised | reed ~] | ~] he | will not | break; ^ | ^ | 
^ Af- | flictions | ~H | all his | children | feel, | ^ | 

""j He | wounds them j *"] for his | mercy's | sake,^ | 
~] He | wounds M to | heal ! | "TJ | 

15. Humbled | ^ be- | neath his [ mighty | hand, ""] | 
Prostrate | ^ his | Providence a- | dore : | 

"-] 'Tis j done !|"]a-| rise ! | ~|~] | He ) bids thee | stand,^ | 
-] To | fall M no | more. | T1 I Tl I 

16. Now, | traveler | "*] in the | vale of J tears ! | 

^ To | realms | ^ of | ever- | lasting | light,^ j 

**] Through | time's | dark ^ | wilderness | ^ of | years, | 

^ Pur- | sue H thy | flight. ~|| Til Til 

17. "*] There | is ^] J ^ a | calm for j those who | weep, "*] | 
^] A | rest "*] [ ^1 for J weary | pilgrims | found : | 

T | ~] And | while the | mouldering | ashes | sleep ""J | 
Low [ ^ in the | ground ; | 

18. ^ The | sou , ^ n of | origin |~] di- [ vine, | T | 
God's | glorious | image, | T | freed from | clay, ^ | 
""j In | heaven's j """j e- | ternal j sphere shall | shine | 

-|A| star Mof| day! |TITI 



MEASURE OF SPEECH. 201 

19. T The | sun | TT I is b u fc a I s P a rk of | fire, | TT | 
T A | transient | meteor J T in the | sky ; | Tl | 
T The | soul, j T im- | mortal j T as its | sire, | 

TT | Shall | TT | never | die." | Tl I Tl I 



3. Psalm cxxxix. 

O | Lord, T | thou hast | searched me, | T and | known me. 
I TT I I s ! I Thou | knowest my | down- j sitting- | T and mine 
| up~T | rising; | TT | thou under- j standest my | thoughts T 
j T a " I far | off. "1 J "Tl | Tl I Thoujcompassest my j path,T 
5 J T and my | lying | down, T | T and art ac- | quainted with | 
all my ( ways. | TT | T For there is | not a J word in my J 
tongue, J T but j lo,T j O | Lord,T | thou J knowest it | alto- j 
gether. I Til Tl I Thou nast be " I set me I T be_ I hind and 
be- | fore,T | T and | laid thine j hand up- | on me. j Tl I Tl 

10 | Such T J knowledge is | too | wonderful for | me : | TT I T i* 
is | high,T ] — ] X | cannot at- | tain unto it. | TT I TT I Whither 
shall I | go T | T from thy j spirit? | Tl I T or I whither shall 
I | flee from thy | presence? | TT I TT I T If * as " I cend T I 
up into | heaven, j TT J thou art | there : | TT | T if I | make 

15 my | bed in | hell, | ^ be- | holdT | thou art | there. | Tl I TT 
| T If I | take the | wings of the | morning J T and | dwell in 
the | uttermost | parts of the | sea: | TT | Even | there | T shall 
| thy | hand T | lead me, | T a nd thy | right T | hand shall | 
hold me. | TT I TT I T If I I sa J' I Surely the | darkness shall 

20 j cover me : | T T I even tne I m g nt T I T sna11 De I light a- j 
bout me : | TT I Yea, j T the J darkness | hideth | not from j 
thee; | TT I T but tne I ni g ht I shineth as the | day: | TT I 
T the | darkness J T a »d the | light T | T are I Dot h a " | like to 
| thee. |TT ITT I 

For further training on the principles of this section it 
is recommended to the learner to score his own exercises 
and then read them. Let him commence by marking the 
heavy syllables in pieces selected for that purpose, both 
prose and poetry. When he has acquired a facility in 



202 MANUAL OF ELOCUTION. 

doing this, then let him in these same pieces determine the 
places for the rests, which, it is important to add, will be of 
more frequent recurrence in dignified than in sprightly style. 
And when he has done this, he will be prepared to com- 
mence dividing the matter into measures, and to test the 
correctness of the division by attempts to read the pieces 
thus scored. 

This exercise wull be of special service to those readers 
who have fallen into the habit of giving an improper stress 
to unimportant words, or of reading with a measured, 
scanning movement of the voice. This error is more 
common in the reading of poetry than of prose, and is 
often acquired in childhood, while learning to read under 
bad instruction. But in the training of the public speaker 
it will perform a much more important part, as it will not 
only adapt his delivery to the principles of good taste, but 
to that regular action of the heart and lungs w 7 hich is so 
essential to the healthful exercise of the functions of life, 
but which is always interrupted just so far as the principles 
of this section are violated in speech. Persons of easy 
and graceful delivery speak according to these principles, 
though they may never have studied them ; and in view 
of the consequences of their violation, we can scarcely 
avoid wishing that the movements of the voice were as 
little influenced by neglect, or subject to derangement by 
bad habits, as are the movements of the heart. Then would 
they always act in harmony, and health would at least 
generally be promoted rather than injured by the exercise 
of speaking. 



PAUSES. 203 

SECTION II. 

OF PAUSES. 

Rests in speech are to sentences, what the division into 
syllables is to words ; — their object being to separate the 
language by which thought is expressed, into portions cor- 
responding with the sense ; for the purpose of presenting 
to the ear an idea of the connection of the thought, as more 
or less intimate and close. The clearness, and especially 
the dignity of style depend materially on the minute ob- 
servance of all the requisite rests. That the learner may 
know what these are, the following enumeration is made. 

The pauses marked by the comma, semicolon, colon, 
period, and other points which divide discourse into sen- 
tences, are for this reason called Sentential or Grammatical 
pauses. Of these, important as they are in a grammatical 
point of view, nothing need here be said, but that in the 
language of emotion, they give no intimation as to tone or 
inflection, nor even indicate with any definiteness the length 
of the pause. The comma, for example, sometimes, when 
it marks only the grammatical relation of words, indicating 
no rest of the voice, as in " Yes, Sir," " No, Sir ;" and 
at others, being used to mark a rest altogether beyond its 
ordinary length. 

In the last section another set of pauses was developed, 
which depend entirely on the mechanism of the voice, and 
are independent of the usual marks of punctuation. Con- 
necting themselves necessarily with the natural measured 
movement of the voice, they may be called by way of dis- 
tinction Rhythmic pauses. Nothing need here be added 
concerning these, except the remark, that these two classes 
of pauses are from their very nature so interspersed in all 



204 MANUAL OF ELOCUTION. 

correct delivery, as to furnish every necessary facility for 
taking breath even in the most harried utterance. It is 
only from their disregard, that injury or even inconvenience 
can arise to the speaker from too great an expenditure of 
air from the lungs. 

There is another pause connected solely with rhetorical 
delivery, for the purpose of adding force to the expression 
of the emotions, and which may be called the Rhetorical or 
Emphatic pause. This pause, made immediately before or 
after the utterance of some striking thought, commands the 
special attention of the hearer, at the same time that it 
gives him time to fix the thought more deeply in his me- 
mory. It also indicates feeling on the part of the speaker. 
It is a means of enforcing sentiment, which requires to be 
used with caution, but which in the hands of a master is 
an element of great power. Its effect is well understood 
in music. 

In the following examples this pause is marked by a 
dash. 

1. Alexander wept : the great and invincible Alexander — wept at 
the fate of Darius. 

2. Industry — is the guardian of innocence. 

3. Mirth — I consider as an act, cheerfulness — as a habit of the 
mind. Mirth — is like a flash of lightning-, that glitters for a mo- 
ment; cheerfulness — keeps up a kind of day-light in the mind. 

4. Men will wrangle for religion; write for it; fight for it; die 
for it; any thing but — live for it. 

5. Vice — is a monster of so frightful mien, 
As to be hated, needs but to be seen; 
Yet seen too oft, familiar with her face, 

We first — endure, then — pity, then — embrace. 

6. America— is full of youthful promise ; Europe— is rich in the 



PAUSES 205 

accumulated treasures of age ; her very ruins — tell the history of 
times gone by, and every mouldering stone — is a chronicle. 

7. Let not a monument — give you or me hopes, 
Since — not a pinch of dust remains of Cheops. 

8. Contemporaries — appreciate the man, rather than the merit ; 
but posterity — will regard the merit, rather than the man. 

9. On whatever side we contemplate Homer, what principally 
strikes us, is — his wonderful invention. 

10. It is an honor to a man to cease from strife; but every fool 
—will be intermeddling. 

11. Some — place the bliss in actions, some — in ease; 
Those — call it pleasure, and contentment — these. 

The Pause which marks the Transition from one para- 
graph or division of discourse to another is too important 
to be overlooked. This may be called the Paragraphic 
pause. As a mere pause, it is sufficient to remark that it 
is longer than that which marks the division of periods, 
which are more closely related to each other. It is how- 
ever accompanied with several other agencies. — 1. It is 
preceded by the Prepared Cadence. 2. It is followed by 
a change in Pitch and usually by some change in the 
Phrases of Melody. 3. It is the place where the Transi- 
tions most frequently occur, which mark the changes of 
sentiment in discourse, and which were made the subject 
of a section in the last chapter. 

In practice this pause will be found to furnish to the 
speaker a very convenient occasion to return to a lower 
note, a slower utterance, or a freer movement of the voice, 
when he finds himself speaking on too high a pitch, too 
rapidly, or in a monotonous and constrained manner. 

There are two pauses which belong exclusively to verse, 
18 



206 MANUAL OF ELOCUTION. 

and are hence called Musical Pauses ; the cesural pause 
which divides the line into two parts, and the final pause 
at the end of the line. 

1. The cesural pause is not essential to verse, as the 
shorter kinds of measure do not recognise it ; but in our 
heroic and blank verse, consisting of five feet, it can never 
be omitted in reading, without destroying its euphony. 
This pause may exist in any part of the line, but is most 
agreeable when found in the middle ; that is, in the 
middle of the third foot, as in the first five lines of the 
following : — 

Can that arm measure .... with an arm divine ? 
And canst thou thunder .... with a voice like mine 1 
Or in the hollow .... of thine hand contain 
The bulk of waters, .... the wide spreading main, 
When, mad with tempests, .... all the billows rise 
In all their rage, .... and dash the distant skies 1 

The cesural pause may be found at the end of the first, 
second, or third foot, or in the middle of the second or 
fourth. The euphony is diminished as the place of this 
pause departs from the middle of the line — but is greater 
when it occurs before the middle than after it. It is 
however for the writer to determine the place of the 
cesural pause, and for the reader to observe it, and mark it 
with his voice. 

2. The other pause peculiar to poetry occurs at the end 
of the line, and is hence called the final pause. When 
not coincident with the Grammatical pause, it is introduced 
by the phrase of the monotone or the rising or falling di- 
tone, with no downward slide of the voice. In the reading 
of verse, the end of every line should be marked by such 
a rest, unless forbidden by the closeness of the gramma- 



READING OF POETRY. 207 

tical connection with the following line. As regards rhyme, 
there is no doubt but the end of each line should be made 
quite perceptible to the ear; and if the same is not done 
in blank verse, it often differs but little from prose. On the 
stage, however, where the appearance of speaking in verse 
should always be avoided, this resemblance to prose is not 
a defect ; and the ends of the lines, where the sense does 
not require it, need not be marked by a rest. 

Great care should be taken by the reader in determining 
the proper place of the cesural pause ; and the length to 
be given to this, as also to the final pause, will furnish a 
good exercise for his judgment, as it will afford a good 
test of his taste. If made too long, or if accompanied 
with any error of intonation, it gives a mechanical stiff- 
ness to the movement of the verse, and passes into a de- 
cided fault. 



SECTION III. 

OF THE READING OF POETRY. 

The principles which are laid down in the several 
sections of the second chapter of this manual, are as 
applicable to the reading of poetry as of prose ; but in 
their application, there are some slight differences which 
need to be noticed. 

I. As regards Accent, we have made no difference 
between prose and poetry. In either case, the laws are 
determined by usage. But, 

1. The poet may violate these laws in the expression of 
some harsh sentiment, for the purpose of making the sound 
to correspond with the sense. Thus Milton,™ 



208 MANUAL OF ELOCUTION. 

On a sudden open fly, 



With impetuous recoil, and jarring sound, 
The infernal doors ; and on their hinges grate 
Harsh thunder. 

The reader in such a case should yield to the preference 
of the writer, in violation of usage. 

2. Where, without any particular reason, the poet has 
done violence to the laws of accent, there may in general 
be a compromise of the jarring requisitions of the metrical 
and the common accent, so as to avoid any considerable 
harshness, by accenting both the syllables. Thus — 

Our supreme foe, in time may much relent. 
Of thrones and mighty seraphim prostrate. 
Encamp their legions, or with obscure wing. 

3. Where this compromise cannot be effected the cus- 
tomary accent is to take precedence. 

4. When the rhythm of verse seems to require an accen- 
tual stress on unimportant words or syllables which would 
have no such stress in prose, it should not be given. Thus 
the and of, and the other particles with which our language 
abounds, should never (except in rare cases where they are 
made emphatic) be considered as long, or accented. 

5. In poetry, the Temporal accent should be given on all 
syllables of indefinite quantity ; and the Radical specially 
avoided, except on the most abrupt syllables. 

II. The principles of Emphasis, of the Drifts of Melody, 
of Expression, and of Transition, are applied, in all re- 
spects, the same in poetry as in prose. The learner how- 
ever may be informed, that in poetry he will find a more 
comprehensive field for their -employment. Poetry is the 
language of feeling. 



READING OF POETRY. 209 

III. All the kinds of Pauses used in the reading of prose 
are also common to poetry, as well as those described in 
the last section as peculiar to verse. 

IV. The short syllables which would be pronounced in 
the reading of prose, even though apostrophized by the 
writer or the printer, should be pronounced also in poetry. 
The occurrence of such syllables varies the melody ; and 
is most common with the best poets. 

The dactyl often adds a short syllable in the first foot of 
the verse, thus : — 

Furious he spoke, the angry chief replied. 
Murmuring, and with him fled the shades of night. 

The tribrach occurs frequently in the third and fourth 
feet, thus : — 

And rolls impetuous to the subject plain. 
And thunders down impetuous to the plain. 

And the anapaest is of frequent occurrence in any place 
in the line, except the first. Witness the following : — 

On every side with shadowy squadrons deep. 
And hosts infuriate shake the shuddering ground. 

V. In the reading of rhyme in particular, it may be 
remarked, that there should be the same variety in the 
Phrases of Melody and the Cadence, as in the reading of 
blank verse, or prose. The regular recurrence of similar 
sounds, superadded to the measure, exposes the reader to 
the danger of too great uniformity in the employment of 
the phrases of melody, or of a return to the same note at the 
end of the lines. 

It will often require great care and attention on the part 
of the learner, to rid himself of bad habits of reading poetry, 

18* 



210 MANUAL OF ELOCUTION. 

acquired in early life. In view of the kind of instruction 
usually given to children in our schools, and the real 
difficulties attending the reading of verse, it is perhaps 
not remarkable that so few read it well. — The follow- 
ing exercises will introduce the learner to the practice on 
the pauses peculiar to poetry, which he may carry to any 
extent on examples of his own selection. The dots .... 
indicate merely a vocal rest, with no expressive intona- 
tion ; and are hence a lit emblem of the musical pause. 

Examples. 

1. Of Man's first disobedience, .... and the fruit . . . 
Of that forbidden tree, .... whose mortal taste . . . 
Brought death into the world, .... and all our wo, 
With loss of Eden, .... till one greater Man . . . 

5 Restore us, ... . and regain the blissful seat, 

Sing, heavenly Muse, .... that on the secret top . . . 
Of Oreb, or of Sinai, .... didst inspire . . . 
That shepherd, .... who first taught the chosen seed, 
In the beginning .... how the Heavens and Earth . . . 

10 Rose out of Chaos ! . . . . Or, if Sion hill . . . 

Delight thee more, .... and Siloa's brook, that flowed . . . 
Fast by the oracle of God ; .... I thence . . . 
Invoke thy aid .... to my adventurous song, 
That with no middle flight .... intends to soar . . . 

15 Above th' Aonian mount .... while it pursues . . . 
Things unattempted yet .... in prose or rhyme. 

2. O Muse ! . . . . the causes and the crimes relate ; 
What goddess was provoked, .... and whence her hate, 
For what offence .... the queen of heaven began . . . 
To persecute so brave, .... so just a man; 

5 Involved his anxious life .... in endless cares, 
Exposed to wants, .... and hurried into wars ! 
Can heavenly minds .... such high resentment show, 
Or exercise their spite .... in human wo 1 



READING OF POETRY. 211 

3. Oh ! Sacred Truth ! .... thy triumph ceased awhile, 
And Hope, thy sister, .... ceased with thee to smile, 
When leagued Oppression .... poured to northern wars . . . 
Her whiskered pandoors .... and her fierce hussars, 
5 Waved her dread standard .... to the breeze of morn, 
Pealed her loud drum, .... and twanged her trumpet horn; 
Tumultuous horror .... brooded o'er her van, 
Presaging wrath to Poland .... and to man ! 

Warsaw's last champion, .... from her height surveyed, 

10 Wide o'er the fields .... a waste of ruin laid. — 

Oh ! Heaven ! he cried, .... my bleeding country save ; 
Is there no hand on high .... to shield the brave 1 
Yet, though destruction .... sweep these lovely plains, 
Rise, fellow-men ! . . . . our country yet remains ! 

15 By that dread name, .... we wave the sword on high, 
And swear for her to live ! . . . . with her to die ! 

4. Lo, the poor Indian ! . . . . whose untutored mind . . . 
Sees God in clouds, .... or hears him in the wind; 
His soul, .... proud Science never taught to stray . . . 
Far as the solar walk, .... or milky way; 
5 Yet simple Nature .... to his hope has given, 

Behind the cloud-topped hill, .... an humbler heaven ; 
Some safer world .... in depth of woods embraced, 
Some happier island .... in the watery waste, 
Where slaves once more .... their native land behold, 
10 No fiends torment, .... no Christians thirst for gold. 
To Be, .... contents his natural desire, 
He asks no Angel's wing, .... no Seraph's fire ; 
But thinks, .... admitted to that equal sky, 
His faithful dog .... shall bear him company. 



212 MANUAL OF ELOCUTION. 

SECTION IV. 

OF THE GROUPING OF SPEECH. 

The idea involved in the Grouping of Speech, requires 
for its full development a careful analysis of written lan- 
guage. Such an analysis shows, that words sustaining a 
close grammatical relation to each other are often separated 
by intervening words and clauses. To the eye of the 
reader the connection may be apparent, and the meaning is 
generally obvious; but not so with the hearer. There 
must be expedients adopted by the reader or speaker, to 
present such sentences to the ear of the hearer as they na- 
turally present themselves to the eye of him who reads, or 
the sense may often remain obscure ; and particularly in 
poetry, where the greatest involutions and transpositions of 
style occur. Among these expedients may be enumerated : 

1. The application of Emphatic force to words having 
a close grammatical connection, but separated by other 
matter. — The following will serve as an example : — 

Go preach to the coward, thou death-telling seer ! 
Or, if gory Culloden so dreadful appear, 
Draw, dotard, around thy old wavering sight! 
This mantle, to cover the phantoms of fright. 

2. The same object is secured by an abatement of the 
force, and a quickening of the time in reading the matter 
which intervenes between the related words or parts of a 
sentence. — These circumstances of Force and Time, though 
perfectly distinct, in such cases coincide, and constitute 
what may be called the Flight of the Voice. We shall pre- 
sent it to the eye thus : — 

Thus saying, from her side the fatal key, 
Sad instrument of all our wo, she took. 



GROUPING OF SPEECH. 213 

Let US (since life can little more supply 
Than just to look about us and to die) 

Expatiate free o'er all this scene of man. 

3. The same principle may extend to the shortening of 
the pauses which intervene between words closely related 
to each other. — This will be illustrated by a slur over the 
pause thus shortened : — 

Say first, for Heaven hides nothing from thy view, 
Nor the deep track of hell. 

4. Another expedient is, the employment of the Phrase 
of the Monotone, (and sometimes of the Rising Ditone,) 
instead of allowing the voice to fall at the pauses which 
intervene between the related parts. Example : — 

On the other side, 
Incensed with indignation, Satan stood 
Unterrified, and like a comet burned, 
That fires the length of Ophiuchus huge, 
In the Arctic sky. 

Though these are distinct elements, and each capable of 
an independent illustration, no two are opposed to each 
other, but any or all of them may be combined to secure 
one common object. This the following examples will 

sufficiently illustrate : — 

1. So spake our sire, and by his countenance seemed 
Entering on studious thoughts abstruse, which Eve 
Perceiving, where she sat retired in sight, 
With lowliness majestic from her seat, 
And grace that won who saw to wish her stay, 
Rose, and went forth among her fruits and flowers, 
To visit how they prospered, bud and bloom, 
Her nursery ; they at her coming SPRUNG, 
And, touched by her fair tendance, GLADLIER GREW. 



214 MANUAL OF ELOCUTION. 

2. The sun was sunk, and after him the star 
Of Hesperus, whose office is to bring-, 
Twilight upon the earth, short arbiter 
Twixt day and night ; and now from end to end 
Night's hemisphere had veiled the horizon round : 
When Satan, who late fled before the threats 

Of Gabriel out of Eden, now improved 
In meditated fraud and malice, bent 
On man's destruction, maugre what might hap 
Of heavier on himself, FEARLESS RETURNED. 

3. As the VINE, which has long twined its graceful foliage about the oak, 
and been lifted by it into sunshine, will, when the hardy plant is rifted by the 
thunderbolt, cling - round it with its caressing tendrils, and bind up its 
shattered boughs ; so is it beautifully ordained by Providence, that 

WOMAN, who is the mere dependent and ornament of man in his happier hours, 

should be his stay and solace when smitten with sudden calamity ; 
winding herself into the rugged recesses of his nature, tenderly 
supporting the drooping head, and binding up the broken heart. 

1. So spake the false dissembler unperceived ; 
For neither Man nor Angel can discern 
Hypocrisy, the only evil that walks 
Invisible, except to God alone, 
By his permissive will, through heaven and earth. 

5. May the LIKE SERENITY in such dreadful circumstances, and a DEATH 
EQUALLY GLORIOUS, be the lot of all whom TYRANNY, of whatever deno- 
mination or description, SHALL, in any age, or in any country, CALL to expiate 

their virtues on the scaffold. 

The exercise suggested in this section may well be con- 
tinued, for which examples may everywhere be found. It 
involves an analysis of written language, which has to be 
made mentally by him who understands what he reads, 
whether he makes it sensible to the ear of the listener or 
not. But to the speaker, or to him who is accustomed to 
read aloud to others, it is not less necessary that he should 



CLOSING REMARKS. 215 

be able to make others understand, than that he should 
himself understand, what he speaks or reads. 

But this is not the only advantage to be derived from 
this kind of exercise. Dr. Barber, when treating of this 
subject, takes occasion to speak of the intimate connection 
between the arts of composition and delivery. He re- 
marks : — " It must be obvious, that such an analysis as is 
necessary to present a clear picture of thought in delivery, 
cannot fail to reveal the latent beauties as well as defects 
of composition. The art of Rhetoric cannot fail to derive 
assistance from that of Elocution ; since a careful consider- 
ation of the nice relations of thought in written language is 
constantly necessary to its practice. Every exertion of it 
consists in the application of a subtle test, by which com- 
position, as a medium of conveying thought and sentiment, 
is tried. The arts of Rhetoric and Delivery are therefore 
intimately related and assist each other ; and we may remind 
those who affect great zeal for the one, and contemn the 
other, of what Bacon used to say, when he experienced a 
temporary difficulty from two passages of Scripture, which 
he could not immediately reconcile : — ' Ye are brethren, 
why strive ye ?' " 



The question was once asked by the Bishop of Cloyne, 
in relation to Great Britain, " Whether half the learning of 
the kingdom was not lost for want of having a proper de- 
livery taught in our schools and colleges ?" and a similar 
inquiry cannot but force itself on any thoughtful observer, 
in regard to our own country. Our systems of education 
seem to be based on the supposition, that nothing is essen- 
tially necessary to language but words. The graphic art, 



216 MANUAL OF ELOCUTION. 

as presented in our books — even the text-books furnished 
for the use of children, exhibits nothing but words, and 
marks indicating the rests of the voice. In regard to the 
tones, emphases, quality of the voice, &c, they have no 
visible signs. For these we depend entirely on nature, and 
on the instructions of the living teacher. But in teaching 
a language of words, in the absence of all effective instruc- 
tion in regard to this other language, even the suggestions 
of nature are countervailed ; and in reading what they do 
not understand, children first learn to lay aside their natural 
tones and inflections — the language which alone can truly 
express the feelings. Thus early they acquire reading tones, 
widely different from the natural tones of speech ; and these 
too often, for want of correction, grow with their growth 
and strengthen with their strength ; from reading are trans- 
ferred to the rehearsal upon the stage of what they commit 
from books; and thus not unfrequently the professional 
man — the public speaker even — engages in the hopeless 
task of sustaining the cause of injured innocence, of rous- 
ing up an oppressed people to the avenging of their wrongs, 
or the still harder task of moving the depraved heart to the 
choice of a course of virtuous action, — by the use of a lan- 
guage of words. 

In view of such a state of things, Sheridan says, — " When 
we reflect, that not only every thing which is pleasur- 
able, every thing which is forcible and affecting in utterance, 
but also the most material point necessary to a full and dis- 
tinct comprehension of the sense of what is uttered, depends 
upon the proper use of the Elements of Expression ; it may 
well astonish us to think, that so essential a part of lan- 
guage should in a civilized country be wholly neglected. 
Nay worse, that our youth should not only be uninstructed 



CLOSING REMARKS. 217 

in the true use of these, but in the little art that is used, 
they should be early perverted by false rules, utterly repug- 
nant to those which nature has clearly pointed out to us. 
In consequence of which, all the noble ends which might 
be answered in a free state, by a clear, lively, and affecting 
public elocution, are in a great measure lost to us. And 
how can it be otherwise, when we have given up the vivi- 
fying, energetic language, stamped by God himself upon 
our nature, for that which is the cold, lifeless work of art, 
and invention of man ? and bartered that which can pene- 
trate the inmost recesses of the heart, for one which dies in 
the ear, or fades on the sight." This we have done; and, 
strange to tell, have done it in the very face of the uni- 
versal admission, that while few can be moved by reason, 
all can feel. 

Children should never be permitted to read what they 
cannot understand ; the school-boy should never be per- 
mitted to commit a piece for rehearsal upon the stage, till 
he has been taught the principles on which it should be 
read and spoken : and in our higher institutions of learning, 
all that has been neglected in the preparatory training 
should be supplied by a patient system of practical instruc- 
tion, embracing every point which is essential to an effec- 
tive and powerful delivery. But most of those who have 
charge of the business of elementary instruction, are them- 
selves ignorant of the very simplest elements of elocution ; 
nor in many of our higher seminaries of learning, is any 
but the most feeble attempt made to supply the defect of 
early education arising from this source. Even in some of 
our colleges, every attempt to set forth this subject will be 
met with coldness and neglect. But may it not be hoped, 
that the time is near, when a distinction shall be every- 
. 19 



218 MANUAL OF ELOCUTION. 

where made between those seminaries and colleges which 
send out from their walls those who by a good delivery are 
prepared to make effective use of all their other acquisi- 
tions, and those whose sons have only their certificates and 
diplomas to present to the public as evidence of their edu- 
cation. While speech and reason are among the leading 
characteristics of man, it is melancholy to reflect on the 
enormous waste of reasoning power among the educated 
class of society, arising from the neglect to cultivate the 
power of speech ! Our country abounds in good writers, 
while a good speaker is really almost a prodigy. The sole 
reason of this is, that Rhetoric and all the elegances of 
Composition are taught, while Elocution is left to nature 
and to chance. 



PART II. 

OF GESTURE. 



CHAPTER I. 

ELEMENTS OF GESTURE. 



SECTION I. 

PRELIMINARY REMARKS. 

Gesture is used in this Manual to include the whole of 
the action of the orator ; and embraces that part of delivery 
which addresses itself to the eye, as distinguished from the 
Voice or that part which appeals to the ear. Besides, 
therefore, what is more commonly understood by gesture, it 
embraces the expression of the countenance and attitude, — 
every thing indeed by which the painter gives life to his 
portrait or the parent communicates with his infant child. 

The first thing to be remarked in regard to the action 
appropriate to the expression of sentiment, and which con- 
sequently falls under our notice in this part of our Manual, 
is, that it is natural. As evidence of this, it is, next to the 
tones, the earliest language employed and the earliest 
learned by the child. The one has been called the speech, 
the other, the hand-writing of nature. These constitute 
the only language which never deceives ; and the only 
language which is alike understood by all — the learned 
and the unlearned. Though natural, it is to some ex- 
tent voluntary. " Thus," in the language of Austin, 
" anger threatens, affright starts, joy laughs and dances, 
but nature does not by any means suggest (except it may 
be to some chosen few) the most dignified or graceful ex- 
pressions of those various passions ; as may be sufficiently 
observed in the untutored extravagance and uncouth mo- 

19* 221 



MANUAL OF ELOCUTION. 

tions of the vulgar, — in the gesticulations of mirth in their 
dances, and of anger in their quarrels. These, though 
they may be perfectly intelligible, and strongly energetic, 
degrade the person who uses them from all pretensions to 
the character of liberality of mind, or of enlightened elo- 
quence ; and are more likely to excite in the cultivated 
spectator laughter or disgust, than the kindred passion of 
the gesticulator." 

The Jirst stage of gesture, then, as it may be called, cor- 
responds with the natural tones of the voice, and consists 
of the involuntary visible symbols of expression which con- 
nect themselves with the stronger passions of the mind, 
such as the motion of some of the muscles of the face, the 
change of the color of the countenance, and certain sudden 
gesticulations which sometimes extend to the whole body. 
These are the offspring of the natural sympathy which 
exists between the action of the mind and the material 
frame. But the effects of this sympathy do not stop here. 
It prompts to a variety of movements which are much 
more under the control of the will than those to which we 
have referred. These constitute gesture in its second stage, 
and by way of distinction may be called voluntary. Being 
to a certain extent under the control of the will, they may 
be influenced by the force of example, and may become 
awkward by the imitation of some bad model, or by being 
put forth under the constraints of natural diffidence, or by 
the employment of a manuscript in delivery. From the 
same causes, gesture may be altogether suppressed. — Ex- 
cess of natural excitement too, may lead to too great rigid- 
ity of muscle, and to a total inattention to the gestures ; 
and this can scarcely fail to result in the entire absence of 
every thing like grace in the action of the speaker. Ges- 



PRELIMINARY REMARKS. 223 

ture, then, as an art, requires to be studied not less than 
Grammar or Logic. 

The voluntary gestures may well therefore become the 
subject of instruction. The muscles by which they are 
made are all voluntary muscles, not less than are those em- 
ployed in penmanship, or in playing upon a musical instru- 
ment ; and thus, by a course of private training similar to 
that to which in these other cases they are subjected, they 
may be brought perfectly under the control of the will, so 
as to produce with all the precision of a natural habit such 
action as shall please instead of offending the eye. Such 
action, considered merely as a matter of taste, has the same 
advantage over the awkward movements of the untutored 
speaker, as a neat and elegant dress has over the slovenly 
apparel of a clown: it bespeaks the favor and attention 
of the hearer. But as the language of sentiment and feel- 
ing, it performs the higher office of arousing the mind of 
the speaker and inspiring him with feelings suitable to the 
subject and the occasion, of giving force and impressive- 
ness to the sentiments he utters, and thus of exciting and 
keeping alive an interest on the part of his auditory. By 
this feeling of interest alone, is the popular mind roused 
up to a full appreciation of the importance of the matter in 
hand. Yet all this is to be done, not by the employment 
of any artificial means, but by the use of the cultivated na- 
tural powers. No affectation can equal the simple dignity 
of nature, which however rarely becomes visible till freed 
from the rubbish of artificial defects and polished by art. 

It may not appear perfectly obvious, that a neglect of the 
principles of gesture may affect injuriously the character 
even of written composition. Yet who, if wanting in an 
effective elocution, would attempt rhetorical expression 



224 MANUAL OF ELOCUTION. 

or eloquent arrangement, in a sermon or discourse in- 
tended to be delivered by himself? So far from this, to 
adopt the language of a distinguished writer on this subject, 
" If even a figure or brilliant thought should occur to him, 
he rejects it as not of a piece, or in the language of Sterne, 
as ' intended for another man ;' and if in his researches on 
his subject, he meets with any thing beautiful as well as 
illustrative, he strips it of its ornaments, and clothes it in 
the plain garb of household labor. He blushes to intro- 
duce a figure too elegant to be reckoned of his society, 
and which he knows not how to present as he ought. To 
be able to write with spirit a rhetorical composition which 
a man is to pronounce himself, he must also feel his own 
ability to deliver it with spirit. And therefore the igno- 
rance or neglect of rhetorical delivery must be considered 
as one great impediment to the progress even of written 
eloquence." 

It should be remarked in passing, that feeling cannot be 
expressed by words alone, or even by the tones of the 
voice : it finds its best, and ofttimes its only expression in 
the flash of passion on the cheek, in the speaking eye, the 
contracted brow, the compressed lip, the heaving breast, 
the trembling frame, — in the rigid muscle and the general 
bearing of the entire body. And when emotion or passion 
thus speaks, its language is often confined to no parti- 
cular part of the body, but the living frame as a whole 
sympathizes in the action. Still, in treating of this part of 
our general subject, to facilitate the imparting of instruction, 
as well as to furnish the materials for giving an intelligent 
description of the action of a speaker, an analysis of the 
elements of gesture, as arising from different parts of the 
body, will be first given. Such an analysis, — having a 



PRELIMINARY REMARKS. 235 

reference however to the action of the orator rather than 
the actor, — will be presented in the several sections of this 
chapter ; while the attention of the learner is successively 
called to the Feet and Lower Limbs, the Head and Trunk, 
the Eyes and Countenance, the Hand, and the Arm. — Some 
of the elements appropriated only to epic or dramatic ac- 
tion, will be noticed in the Appendix. 

This will lead to a somewhat minute detail of particulars, 
with all of which however the learner should be made ac- 
quainted, that he may have a full knowledge of .all the 
means which nature and the best usage have placed at his 
command, not only for the purpose of enforcing sentiment, 
but also for enabling him to give interesting variety to the 
action by which this is to be effected. And he may here 
be reminded, that oratory is no new art of mere modern 
invention ; but that the principles which we present are 
the same with those which have come down over the lapse 
of more than two thousand years ; and that the best models 
of excellence of our own time are those which approach 
nearest to the great masters of antiquity, whose writings 
and opinions have fortunately survived the wreck of much 
other matter. These principles then come to us with all 
the authority which time and experience can impart to 
them. Had we competent teachers in this department, and 
perfect models for the imitation of the young, the learner 
might aim directly at the acquisition of great excellence in 
oratory. As it is, his first object should be to free himself 
from bad habits, and from all artificial constraints, then to 
avoid faults, and thus indirectly by frequent and continued 
practice to acquire the beauties and the graces which will 
naturally en graff themselves on his delivery. To the ac- 
complishment of this end, this Part of our work is directed. 



226 MANUAL OF ELOCUTION. 

SECTION II. 

OF THE FEET AND LOWER LIMBS. 

The propriety of commencing this part of our subject 
with a consideration of the Feet and Lower Limbs will 
become obvious to the learner as we pass along. To the 
orator nothing is unimportant which contributes to the 
general impression he makes upon his audience ; and this 
depends very materially on the dignity and grace of his 
movements. And what particularly concerns us to remark 
at this point is, that dignity and grace in the standing figure 
are known to depend on the positions of the lower limbs, 
which should be such as to give to the body both firmness 
of support and facility of movement. Mere firmness or 
stability can be secured, when combined with every degree 
of awkwardness ; and rude strength most frequently per- 
haps supports the weight of the body equally on both feet. 
Firmness and grace however are combined, when the 
weight of the body is principally supported on one leg, and 
the other so placed as to preserve the balance of the body 
and keep it from tottering, at the same time that it is left 
free to move at will. Austin has remarked, that this is the 
position adopted in the Apollo, the Antinous, and in other 
beautiful and well-executed statues. In this position, the 
foot which supports the body is to be firmly planted, and 
the body so erect that a perpendicular line let fall from 
the centre of the neck should pass through the heel of that 
foot. Either foot may thus support the body, and may be 
more or less advanced than the free foot ; thus giving four 
positions which are the only ones suited to oratory. The 
conditions of all these are, first, that the feet are to be 
separated from each other only three or four inches ; 



THE FEET AND LOWER LIMBS. 



227 



secondly, that the toes of the foot which supports the body, 
as well as of the other, should be turned moderately out- 
ward ; and thirdly, that the feet should be so placed, that 
lines passing lengthwise through the two feet, shall cross 
each other under the heel of the foot least advanced. 



First Position of the Right Foot. 

In this position, the right foot is firmly 
planted, and sustains the weight of the 
body. The left foot forms nearly a right 
angle with the other, and rests only on 
the ball of the great toe. — In the ground- 
plan of this figure, the right foot which 
rests firmly on the ground is deeply 
shaded ; the part of the left which 
touches the ground is shaded lightly. (See Fig. 




i-) 



Fig. 2. 



Second Position of the Right Foot. 

In this position also, the right foot is 
advanced, while the weight of the body 
is on the left. — In the plan therefore, 
the left foot is deeply shaded ; and the , 
right, though it rests upon the ground 
throughout its whole extent, is shaded 
more faintly. In this position, the an- 
gle which the feet make with each other 
is but about 75 degrees. (See Fig. 2.) 



First Position of the Left Foot. 
This is in all respects analogous to the first position of 
the right foot. The plan presents that position reversed. 
(See Fig. 3.) 




228 



MANUAL OF ELOCUTION. 



Fig. 3. 



Fig. 4. 





Second Position of the Left Foot. 

This position likewise is in all respects analogous to the 
corresponding position of the right foot, as Fig. 4 will 
show. 

These are believed to be the most natural and easy posi- 
tions which the speaker can assume ; and yet when first 
attempted they may seem to require an effort. The learner 
will soon however find himself perfectly at ease in them, 
and familiarity will secure their adoption as a matter of 
habit. With this familiarity, all attention to studied preci- 
sion or measured exactness should be laid aside. Affecta- 
tion and grace can never exist together. Though the 
sustaining foot is to be planted firmly, and the knee of that 
leg straightened, yet there should be no contraction or 
rigidity of muscle ; and the other foot and limb must be 
kept relaxed. 

An observance of the foregoing rules will do much to 
guard the learner against a variety of errors ; some of the 
most common of which we shall here notice. 



THE FEET AND LOWER LIMBS. 



229 



Errors in the Position of the Feet. 

Fig. 5. Fig. 6. 

1 . The sustaining of 
the weight of the body 
on both feet equally. — 
This is objectionable 
mainly, as rendering 
changes of position in- 
convenient. (See Figs. 
5,6.) 

2. The throwing of 
the weight of the body 
forward upon the ball 
of the foot, instead of having it rest upon the heel. — This 
has less of firmness and less of dignity than the erect atti- 
tude. 

3. The placing of the feet too close together. — This di- 
minishes the base of support ; thus rendering the position 
less stable, and of course restricting the free use of the arms 
in gesture. (See Fig. 7.) 




Fig. 7. 



Fig. 8. 



Fig. 9. 




230 



MANUAL OF ELOCUTION. 



4. The separating of the feet too far from each other. — 
If thus placed, and on a line with each other, there is pro- 
duced a very awkward and slovenly appearance ; and if 
the one is placed in advance of the other, a swaggering 
theatrical air is presented, entirely inconsistent with the 
simplicity of the positions suited to the orator. (See Figs. 
8,9.) 

5. The 'pointing of the toes straight forward , or not 
turning them outward to the extent of the angle above de- 
scribed. — This may be combined with any of the faults 
just named, and will greatly heighten the awkwardness of 
those positions. By itself, it diminishes the base of sup- 
port and thus renders the positions of the body less stable ; 
and tends to expose the side of the speaker to his audience 
instead of the full front. 

6. The bending of the leg which should sustain the body, 
or the keeping of the free one straight and rigid. — Either 
of these errors of position throws the body into an ungrace- 
ful attitude. (See Figs. 10, 11, 12.) 

Fig. 10. Fig. 11. Fig. 12. 




Without referring at this point to the occasions which 
call for changes of position in the lower limbs, it may be 



THE FEET AND LOWER LIMBS. 231 

remarked that the only changes of position which seem to 
be required or admitted in oratory — are advancing and re- 
tiring. Either of these movements may be made from 
either of the four positions before described ; and the di- 
rections which follow are designed simply to insure that 
these changes shall be made with the utmost simplicity, and 
with an entire freedom from display. For this purpose they 
must be made under the following conditions : — First, the 
speaker must advance or retire, when on the stage, by a 
step of only moderate length — something less than the ordi- 
nary walking step. Secondly, the change must always 
commence with the free foot. Thirdly, the outward direc- 
tion of the toes noted in the several positions must be pre- 
served during the changes ; and fourthly, the changes must 
be in the following order : — 1st. The advance from the first 
position of either foot — is made by passing into the first 
position of the opposite foot ; and the advance from the 
second position, by passing into the first position of the 
same foot. 2nd. To retire from the first position of either 
foot, it is only necessary to pass into the second position 
of the same foot ; and to retire from the second position, to 
pass into the second position of the opposite foot. It may 
assist the learner, to remember that the advance should thus 
always bring him into the first position of one of the feet ; 
while in retiring, he always falls into a second position.* 

* Note to the Teacher. — These positions and changes of po- 
sitions, being the most easy and simple, by a little practice become 
perfectly natural. An entire class, or section of a class, may advan- 
tageously be trained together in this kind of exercise. First, let the 
class be required to take the second position of the right foot, (which 
for convenience may here be designated by R. 2 ; and the other po- 
sitions in a corresponding manner.) Then let them be required to 
advance and retire, according to the following table, which may be 
extended and combined, at the pleasure of the teacher. 



232 MANUAL OF ELOCUTION. 

The observance of these simple rales will render any 
changes of position called for in oratory easy and natural, 
at the same time that it will afford a guaranty against all 
awkwardness or apparent affectation. The following are 
among the most common errors in the employment of the 
lower limbs. 

Errors connected with Changes of Position. 

1. The movement to the right or left, as distinguished 
from the free movement forward and backward, in the re- 
gular process of advancing and retiring. — Such sidelong 
movements may be proper for the actor, though not called 
for in oratory ; hence the notice of them is reserved for the 
Appendix. 

2. The making of the step too long or too short. — The 
theatrical stride, and the short shuffling step of hesitating 
timidity — are equally inconsistent with the true dignity of 
the orator. 

3. The attempt to change the position by moving the foot 
which supports the body. — To move this foot requires two 
successive efforts, — the first being necessary to set the foot 
free. This complex movement is always unnecessary, and 
consequently awkward. 



From R. 2, advance to R. 1. 

" R. 1, return " R. 2. 

" R. 2, retire " L. 2. 

" L. 2, advance " L. 1. 

" L. 1, advance " R. 1. 

" R. 1, advance " L. 1. 

" L. 1, retire " L. 2. 

" L. 2, retire " R. 2. 



From L. 2, advance to L. 1. 

" L. 1, return " L. 2. 

" L. 2, retire « R. 2. 

» R. 2, advance " R. 1. 

" R. 1, advance " L. 1. 

" L. 1, advance " R. 1. 

" R. 1, retire " R. 2. 

" R. 2, retire " L. 2. 



At first, each of these changes should be made slowly, and the 
position may be given which should succeed ; but after a very little 
practice, the only direction given should be — to advance or retire, 
when care must be taken to see that it be done correctly. 



THE HEAD AND TRUNK. 233 

4. The advancing with the toes pointing straight forward, 
or turned outward by too small an angle. — This step, be- 
sides appearing less graceful, leaves the body unsupported 
on the side from which the toes are diverted. 

5. The falling into a wrong position after advancing or 
retiring. — Any other positions, or modes of changing the 
position, than those already pointed out, are wanting both 
in simplicity and grace. 



SECTION III. 

THE HEAD AND TRUNK. 

The attitude and general bearing of the whole person 
depend on the position of the head and trunk ; and the 
position of these depends so materially on the management 
of the feet and lower limbs, that if the rules of the pre- 
ceding section are carefully observed, there is little danger 
that in regard to this any thing shall be wrong. 

In dramatic action, the head performs a very important 
part. Shame, pride, dislike, horror, and many other pas- 
sions and feelings do not admit of a full expression but by 
the action of the head. Such action however has little to 
do with grave delivery, either in declamation or in oratory 
— whether in the pulpit, at the bar, or in the senate. 
The dignified self-possession suited to oratory preserves the 
head erect, permitting it neither to fall forward upon the 
breast, to incline to the side, nor to be thrown back in the 
attitude of haughtiness or defiance. — The positions of the 
body too may be made in the highest degree significant, as 
they may vary from the air of pride or disdain, which 
throws the body back from the persons addressed, — to the 
prostration, which marks the utmost degree of abasement 

20* 



234 



MANUAL OF ELOCUTION. 



and humility. Oratory however requires only the erect 
position of self-sustained dignity, and allows no marked 
deviation from this position. 

To be more particular, — the body of the speaker should 
be well balanced and sustained erect on the supporting 
limb ; the head likewise should be sustained with manli- 
ness and grace ; he should front his audience — presenting 
himself, as Quintilian expresses it, aequo pectore, and with his 
face as well as his breast directed to those whom he ad- 
dresses ; and the shrugging up of the shoulders should also be 
carefully guarded against. — This perfectly erect position of 
the body and the head should however yield to every gesture 
of the arm. That which mainly distinguishes the move- 
ments of the living body from those of the machine, is the 
sympathy which produces a perfect correspondence in the 
action of all the parts. A temporary inclination of the en- 
tire body in the direction of the gesture of the arm is not 
then opposed to the rules here laid down. 

The following are among the common errors which, it will 
be perceived, are at variance with the foregoing directions : 



Fin-. 13. 




Errors in the Position of the Head and Trunk. 

1. The rigid square position of the body, 
which arises from the constrained position 
of the supporting leg. — However such atti- 
tudes may be suited to a military man, they 
find no countenance in the rules laid down 
for the orator. This is diametrically opposed 
to what Cicero calls the virilis flexus late- 
_, rum — the manly inclination of the sides, 
which is represented in Fig. 13; where it 
appears the supporting limb is not perpen- 



THE HEAD AND TRUNK. 235 

dicular, but inclined so as to bring the centre of the body 
into the line of the supporting foot. The perpendicular, 
rigid position of the supporting leg produces the error we 
would here describe ; and in this erroneous position of the 
body, there will be less sympathy with the movements of 
the arms, and consequently less of ease and grace, than in 
the position represented in the figure. 

2. The elevating and retracting of the head too much. — 
This position presents an air of arrogance or at least of in- 
difference ; and generally arises from the erroneous posi- 
tion of the lower limbs represented in Fig. 12, page 230, 
which position has a tendency to throw the body also 
back too far from the audience. — The error opposed to 
this, is the hanging of the head bashfully down. 

3. The reclining of the head towards the shoulder, pre- 
senting the appearance of languor or indolence. 

4. The motion of the head in gesture, unaccompanied with 
the arm and hand. — This error is more common with those 
who have been accustomed to read from a manuscript, 
than with those who have trained themselves properly to 
the practice of oratory. Indeed some motion of the head 
is allowable in situations where gestures of the hand are 
not admitted, as in private conversation, or when one is 
reading or lecturing in a sitting posture. 

5. The exposing of the side to the audience, instead of the 
breast. — This generally arises from pointing the toes 
straight forward in the movements which lead to changes 
of position, instead of keeping them turned outward ac- 
cording to the rule. 

6. The inclination of the body forward, as when the 
sustaining limb is bent at the knee, or the weight of the 
body rests on the ball of the foot. 



236 



MANUAL OF ELOCUTION. 



Fig. 14. 7 # j 1 /^ swaggering protrusion of the 

body represented in Fig. 14, which most 
commonly originates in too wide a sepa- 
ration of the feet. 

8. The inclination of the body to one 
side. — This may arise from a faulty posi- 
tion of the feet, or from a habit of inclin- 
ing too much in the direction of the arm 
which is employed in gesture. 

9. The shrugging of the shoulders, 
Quintilian condemns; and Demosthenes, 

to cure this habit, practiced speaking with a spear hanging 
over his shoulder. 




SECTION IV. 



OF THE EYES AND COUNTENANCE. 

There is a singular sympathy between the real feelings 
of the heart, and the expression of the countenance. Says 
Lavater, — " When any passion is called into action, such 
passion is depicted by the motion of the muscles, and these 
motions are accompanied by a strong palpitation of the 
heart. If the countenance be tranquil, it always denotes 
tranquillity in the region of the heart and breast." " Hence 
it appears," says the author of the Chironomia, " that the 
orator who would move others, must appear to be moved 
himself: that is, he must express his emotions in his coun- 
tenance and by his manner ; otherwise his language will 
be contradicted by his looks, and his audience will be more 
inclined to believe them, which are the natural and sure 
indications of the inward mind, than his words, which 



THE EYES AND COUNTENANCE. 237 

may easily be feigned, and may differ much from his real 
sentiments." 

The power of expression is not possessed equally by all ; 
but when possessed, u it has," in the language of Sir Charles 
Bell, "a great share in human beauty; whether in the 
living countenance, or in that which the pencil presents. 
How different the tame regularity of a merely placid coun- 
tenance, from what strikes the spectator when he beholds 
the indications of a great mind in that susceptibility of 
emotion and energy, which marks the brow and animates the 
eye of the hero even in the calmest scenes of life. How fas- 
cinating, when compared with the insipid prettiness and re- 
gular features of an inanimate beauty, is that susceptibility 
which lightens up the countenance and plays upon the fea- 
tures of a woman of sensibility, even while she is unmoved 
by any particular affection. — The full clear eye, the arched 
and movable eyebrow, the smooth and polished forehead, 
as indicating this kind of capacity, this susceptibility of emo- 
tion and power of expression, are grand features of human 
character and beauty."* 

The eyes, more than any other feature by far, give cha- 
racter to the expression of the countenance. Thus children 
early learn to look at the eyes of the parent or nurse 
to determine the real meaning of the words they may 
have uttered. Even the dog learns to read the human 
countenance, and finds in his master's eyes the surest indi- 
cations of his will. — Who cannot distinguish between the 
honest look of conscious innocence, and the impudent gaze 
of hardened guilt; or between the downcast eye of modesty, 
and the averted and unsteady look of him whose heart is 

* Bell's Anatomy of Expression, 



238 MANUAL OF ELOCUTION. 

the seat of dark designs and purposes ? And how different 
is the expression of the eye when suffused with tears, and 
when flashing forth the expression of mirthfulness and of 
joy ! — The eye-lids, the eyebrows — which are peculiar to 
man, and even the cheeks, contribute to the production of 
the various expressions of the eye. 

The orator, then, should never wear spectacles, but as a 
matter of extreme necessity. This, however, may perhaps 
be preferable to the habitual squint of the eye, which, with- 
out great care, is acquired by near-sighted persons. On the 
contrary, the eyes should be uncovered, and always with a 
calm and unaffected expression be directed to the audience, 
though without being fixed on any individual so as to make 
him a special object of address. 

The power possessed even by the eye of the brute has 
been recognised in all ages. To man alone, however, is 
given the expressive forehead, the movable brow, the 
blushing cheek, and the lip which can express derision, 
contempt, and pride. In one respect, it is more important 
to attend to the lips, than even to the eyes. The mouth in 
particular being formed by soft parts, may, by bad habits 
or by indulgence in any depraved passion, permanently 
lose even its original characteristics of beauty; while 
homely features may acquire a beauty and symmetry not 
their own, by the exercise of benevolence, candor, and 
fidelity, and the habitual practice of self-control. It is not 
to be doubted, that the innocent beauty which character- 
izes the face of early childhood, in thousands of instances 
has its soft outlines irretrievably marred and defaced by 
habits acquired perhaps by imitation, or by excessive in- 
dulgence in passion. In later life, habitual sorrow, or 
anxiety, or envy, or a sour temper, as well as habits of in- 



THE EYES AND COUNTENANCE. 239 

temperance and voluptuousness, may drive from the coun- 
tenance even distinguished beauty, and may impart to it 
traits which are not only devoid of all interest, but forbid- 
ding and offensive.* 

With the 'power possessed by the countenance of ex- 
pressing the stronger emotions and passions, oratory rarely 
has to do. But with its characteristics of grace — those 
native lineaments which bespeak moral excellence, wis- 
dom, integrity, and discretion, it has much to do. — Pliny 
has described the mouth of Pompey as a " mouth of pro- 
bity" — os probum ; and a foreign writer has spoken of the 
mouth of our Washington, as presented in the picture by 
Stewart, as strongly suggesting the idea of this os probum. 
The orator then should not be indifferent to the expression 
of the countenance; he should have even the forehead 
bare, and should take special care that the mouth and the 
lips be in no way distorted during delivery, but remain the 
true emblems of a dignified self-possession. 

Among the common errors to which these instructions 
are opposed, may be mentioned the following : — 

Errors relating to the Eyes and Countenance. 

1 . The closing of the eyes ; the staring, the vague wan- 
dering or the motionless abstraction of the eyes ; the fixing 
of the eyes upon any individual of the audience ; or the turn* 
ing of the eyes away from the audience. — No bad habits 
would more certainly attract attention than these, and none 

* "The parts of the human face the most movable and the most 
expressive, are the inner extremities of the eyebrow, and the angle 
of the mouth, and these are precisely the parts of the face which in 
brutes have least expression ; for the brutes have no eyebrows, and 
no power of elevating or depressing the angle of the mouth. It is 
in these features therefore that we should expect to find the muscles 
of expression peculiar to man." — Anatomy of Expression. 



240 MANUAL OF ELOCUTION. 

would be more universally condemned. In pronouncing 
an apostrophe however, or addressing some remote object, 
or speaking of some distant scene, the eye may be for a 
time withdrawn from the audience. 

2. The indulgence in tears, except on occasions worthy of 
such excitement. — Demosthenes is said often to have wept, 
when engaged in pleading capital causes. A distinguished 
Roman writer has said, " It was a common observation in 
Greece, that worthy men are easily moved, and prone to 
tears." A greater than the worthy men of Greece, our 
Lord, wept at the grave of his friend ; and again when he 
approached Jerusalem — that devoted city, he wept over it, 
as he uttered the inimitably beautiful exclamation so worthy 
of him " who spake as never man spake." Austin says, in 
regard to this subject: — "When manly firmness must be 
supposed to give way, under the irremediable loss of what 
is most dear ; tears are allowed to speak the anguish of the 
heart. The warlike Richmond in Shakspeare's Richard 
III. is not lowered in the estimation of the audience, by his 
effusion of tears on hearing of the murder of his family by 
the tyrant. The tear of humanity is also a bright gem in 
the eye of the judge who pronounces the awful sentence 
of the law upon a criminal, who might have been expected 
to fulfil better hopes." — Tears being the strongest symbol 
of emotion, should thus be reserved for occasions worthy 
of them. 

3. The allowing of the forehead or any part of the face 
to be covered, in consequence of a long growth of the hair. — 
This bears the marks of effeminacy, and consequently de- 
rogates from the dignity of the orator. 

4. The unmeaning frown, or any occasional working of 
the eyebrows. In like manner, the unmeaning smile, or ex- 



THE HAND. 241 

pression of scorn, the retracting of the corners of the mouth, 
the protrusion or the compression of the lips, the biting them, 
or folding them upon each other, as with a sort of self-com- 
placency, — should be avoided as at least tending to dis- 
tract the mind of the hearer, and as being often positively 
offensive. 



SECTION V. 

OF THE HAND. 

The expressiveness of what is usually called gesture 
depends on the hand. Next to the tones of the voice and 
the countenance, the hand perhaps has the greatest variety 
and power of expression. Says Sheridan: — "Every one 
knows that with the hands we can demand, or promise ; 
call, dismiss ; threaten, supplicate ; ask, deny ; show joy, 
sorrow, detestation, fear, confession, penitence, admiration, 
respect ; and many other things now in common use. But 
how much farther their powers might be carried, through 
our neglect of using them we little know." 

The positions of the hand are described by Austin,* by 
referring successively to the four following circumstances : 
1. The disposition of the fingers. 2. The manner in which 
the palm is presented. 3. The combined disposition of 
both hands. 4. The parts of the body on which they are 
occasionally placed. 

1. The Disposition of the Fingers. 
The natural state of the fingers, when the arm is hanging 
freely by the side or employed in unimpassioned gesture, is 

* Chironomictt chap. xiii. 
21 



242 



MANUAL OF ELOCUTION. 




that in which the hand is fully open, with the fore-finger 
nearly straight and separated from the middle finger ; the 
middle finger is more bended, and rests partly on the third 
finger, which it gently touches ; the little finger is still more 
bended, and separated from the third finger; while the 
thumb is withdrawn entirely from the palm, and without 
constraint turned a little upward and outward. This posi- 
tion is represented in Fig. 15. This 
arrangement of the fingers is observed 
in the Venus de Medicis, and in others 
of the most eminent specimens of both statuary and paint- 
ing. Even though it may at first seem difficult to some 
learners, it will by a little practice become to them as it 
indeed is — the natural state of the hand. 

The extended position presents the fingers separated from 
each other, and nearly straight ; and is indicative of warm 
excitement. (See Fig. 16.) 

Fig. 16. Fig. 17, Fig. 18. 

m 




The clenched state presents the hand closed, and the 
thumb lapped over the middle finger. (See Fig. 17.) 

The collected state is that in which the ends of all the 
fingers are gently inclined towards, or touch the end of the 
thumb. — (See Fig. 18.) This is the state of the fingers, 
when the hand in gesture is brought up near to the oppo- 
site shoulder, preparatory to being extended in the contrary 
direction. 

The index designates the pointing position, in which the 
fore-finger is extended, while the others should all be 



THE HAND. 



243 



turned inward, and contracted with a degree of force pro- 
portioned to the energy of the speaker. (See Figs. 19, 
20, 21.) 

Fig. 19. Fig. 20. Fig. 21. 

■P 




2. The manner in which the Palm is presented. 

The hand is said to be prone, when the palm is turned 
downward. 

It is said to be supine, when the palm is turned upward. 

It is said to be inward, when the palm is turned toward 
the breast, and the thumb erect. 

It is said to be outward, when the palm is turned from 
the body, and the thumb downward. 

It is said to be vertical, when the plane of the palm is 
perpendicular to the horizon, the fingers pointing upward. 

These positions of the palm, though sufficiently signifi- 
cant and expressive, are seldom employed in ordinary de- 
clamation, or sober dignified delivery. For future reference 
however, they are here noticed. — The position of the hand, 
as regards the palm, most suitable to be adopted by the 
public speaker, is that which presents an inclination from 
the supine position of about 45°, and accompanied with a 
slight bend of the wrist downward, in the direction of the 
little finger. (See Fig. 22.) — This, possessing the elements 
of freedom and grace, and being less 
likely to weary any of the muscles of 
the hand or wrist, may be designated 
the natural position of the palm, and 
should not be deviated from without 



Fig. 22. 




244 



MANUAL OF ELOCUTION. 



Fig. 23. 



good cause. In declamation and oratory, the natural posi- 
tion of the fingers should be presented with this position of 
the palm. 

3. The combined Disposition of Both Hands. 

As these positions belong to dramatic action, the con- 
sideration of them is reserved for the Appendix. 

4. The Parts of the Body on which the Hands are occasion- 
ally placed. 

These will be barely enumerated. The hand may be 
placed — 

On the Breast, in an appeal to conscience, 
or in giving expression to any strong internal 
emotion. (See Fig. 23.) 

On the Eyes, to express shame or grief. 
(See Fig. 86.) 

On the Lips, as an injunction of silence. — 
The fore-finger on the lips expresses the same 
thing. (See Fig. 87.) 

On the Forehead, to indicate pain or dis- 
tress. (See Fig. 88.) — When the hand is 
brought up to the forehead or to the eyes, the 
head is moved forward to meet it. 

On the Chin, in deliberation, or intense thought. (See 
Fig. 89.) 

These gestures are rare, and are always significant ; the 
hand upon the breast being the only one ever called for in 
ordinary address. This is performed with the arm in an 
unaffected position, the hand inward, and the middle of the 
second and third fingers directly upon the heart. 




THE HAND. 245 

Errors connected with the Positions of the Hand. 

1. The employment, in ordinary unexcited delivery, of 
any other state of the fingers, than that designated as the 
natural state ; also any faulty mode of presenting the ex- 
tended, clenched, collected, or pointing positions. 

2. The moving of the fingers about in an indefinite man- 
ner, or upon themselves, or the clenching of the hand, when 
it is hanging by the side, where it ought to be perfectly at 
rest. 

3. The too frequent presentation of the prim in the other 
positions which have been described, instead of that which 
is called its natural position. 

4. The placing of the hand edgewise, equidistant from 
prone and supine, as represented in ^s- 24 - 
Fig. 24 ; which has no meaning but 
as a childish imitation of the act of *xB3 ( 
riving or splitting. 

5. The hollowing of the palm, by approximating the 
fingers and thumb to it. An open palm adds both grace and 
energy to delivery. 

6. The use of the tremulous motion of the hand, without 
any assignable reason. 

7. The bringing of the two hands together, as in clasping 
them, laying the one in the other, crossing the fingers, &e. 
To ordinary delivery, these are not appropriate, whatever 
significance some of them may have as the symbols of 
excited passion. 

8. The bringing of the hand to the face, or the laying of 
it on any part of the body, except when the sentiment ex- 
pressly demands it. 

9. Instead of placing the hand on the heart in the man- 

21* 




246 MANUAL OF ELOCUTION; 

ner prescribed, the touching of the breast with the thumb or 
the tips of the fingers , the' placing of the hand in the wrong 
place, as on the pit of the stomach, too far toward the left 
side, or too high up on the breast, also a wrong position of 
the arm, as when it is made to hug the body, or when the 
elbow is unnaturally thrown out from the body. 

10. The employing of the hand in adjusting any part of 
the clothing, in brushing up the hair, in flourishing a hand- 
kerchief in moving a book or turning over its pages merely 
as a matter of habit, and when no necessity demands it. — 
The orator is denied no privilege of using his hand, in 
helping himself to a glass of water, or using a handkerchief, 
when his convenience demands it ; but then this should, as 
far as possible, be done during the paragraphic rests, so as 
not to obstruct or interfere with the regular current of his 
delivery. And even in doing this, all affected, finical po- 
sitions of the hand should be avoided, as well as those 
which are peculiar and awkward. 



SECTION V. 

OF THE ARM. 

The arm performs but a subordinate part in gesture, it 
being little more than the agent for moving the hand. The 
performance of this office however is sufficient to give it 
great importance in the action of the orator. Every natural 
expression of feeling is characterized by its simplicity ; and 
in their simplicity, the movements of the arm find the chief 
element of grace. Ornament is not to be sought after, as 
a primary excellence ; as a secondary excellence however, 
it should not be undervalued. Awkward gestures detract 
from the force of the sentiments delivered, instead of adding 



THE ARM. 247 

to it, by withdrawing the mind from the matter to the man- 
ner — from the subject in hand to the action of the speaker. 
These then should be most sedulously avoided ; and to aid 
the learner in adopting a free and graceful action of the 
arm, the following suggestions are made. 

First — The action of the arm should always be free and 
unconstrained, appearing to proceed rather from the shoul- 
der than from the elbow ; though care should be taken, 
that the elbow be neither straight, nor rigid and stiff. 

Second, — The arm should be so moved, that the hand 
should always describe curved lines, instead of those which 
are straight and angular. The curve is the line of beauty ; 
and grace in the action of the arm depends very materially 
on the observance of this principle. 

Third. — In all ordinary gestures, the motion of the hand 
through vertical or horizontal curves is deemed more grace- 
ful than that through lines oblique to these. — The lines 
employed for this purpose are presented in Fig. 25. Let 
the line z f r be considered a part of the vertical circle 
passing down in front of the speaker's body. Let z e r e z 
be another vertical circle crossing this one at z and r, and 
passing each side of the speaker. This may be called the 
primitive or extended circle. Half way between these two 
circles, and cutting them at z and r, let two oblique cir- 
cles, z o r b z and z c r b z, be supposed to pass — the dot- 
ted part of the circles being back of the primitive circle. 
And let the centre of the speaker's breast — the point from 
which the movements of the arms may be conceived to 
emanate, be supposed in the centre of this imaginary sphere. 
These circles will represent the lines in which the vertical 
movements of the hands are made, — without however in- 
tending to imply, that mathematical precision in this respect 



248 MANUAL OF ELOCUTION. 

Fig. 25. 




is either practicable or desirable. The right hand may 
move easily and gracefully anywhere in the lines z e r, zo' 
r, z f r, and occasionally, though with less ease or grace, in 
the line z c r. The left hand moves through the corre- 
sponding lines on the other side. 

These circles are crossed by three others, the first H H H, 
at the elevation of the speaker's breast, and here designated 
as horizontal, another DDD, depressed 45° below, and the 
other E E E elevated 45° above the first, and both parallel 
to it. — These latter circles represent the lines in which the 
transverse movements of the hand are made, — the right 



THE ARM. 249 

hand without difficulty passing from c on the left back to b 
on the right, while the left may pass from o to b. These 
movements are reversed and made inward when the hand 
is to be placed upon the breast or other part of the body. 

Fourth. — A mere swing of the arm, even though it is in 
a curved line, and though it is in itself ever so graceful, 
does not accomplish the most important objects of gesture. 
In genera], there should be a point, at which the gesture 
of the hand should abruptly terminate. This remark ap- 
plies more particularly however to the movement in the 
vertical circles. And the points at which the gestures of 
the hand should thus terminate are the points at which 
these vertical and transverse circles cut each other. Allow- 
ing the right hand then occasionally to cross the body to 
the circle z c r, and also to be thrown back, as it some- 
times is, to the circle z b r, there is presented the following 
regular system of gestures, depending on the position of the 
arm and hand at the time the gesture terminates, each of 
which will be designated by a name for convenience of 
future reference, and illustrated by a figure. 

Systematic Positions of the Arms. 

The hand directed 
towards 

d c, gives the Downward Cross gesture. See Fig. 26. 

d f, " " Downward Front gesture. See Fig. 27. 
d o, " " Downward Oblique gesture. See Fig. 28. 
d e, " " Downward Extended gesture. See Fig. 29. 
d b, " " Downward Backward gesture. See Fig. 30. 

The hand directed 
towards 
h c, gives the Horizontal Cross gesture. See Fig. 31. 



250 



MANUAL OF ELOCUTION. 



h f, gives the Horizontal Front gesture. 
ho, " " Horizontal Oblique gesture. 
He, " " Horizontal Extended gesture. 
Hb, " " Horizontal Backward gesture. 

The hand directed 
towards 

e c, gives the Elevated Cross gesture. 
e f, " " Elevated Front gesture. 
e o, " " Elevated Oblique gesture. 
e e, " " Elevated Extended gesture. 
e b, " " Elevated Backward gesture. 

Fig. 26. Fig. 27. 



See Fig. 32. 
See Fig. 33. 
See Fig. 34. 
See Fig. 35. 



See Fig. 36. 
See Fig. 37. 

See Fig. 38. 
See Fig. 39. 
See Fig. 40. 



Fig. 28. 




Fig. 29. 





Fig. 32. 



THE ARM. 

Fiir. 33. 



251 



Fig. 34. 




252 



MANUAL OF ELOCUTION. 



Fig. 41. 



With regard to these positions, though thus mathemati- 
cally defined, the learner will understand, that an approxi- 
mation to the points designated in Fig. 25 is all that is 
intended. The gesture should doubtless terminate as near 
these points as convenient ; though any apparent care in 
regard to this is to be avoided ; and especially would the 
folio win^b£the hands by the eye, as if to assist in adjust- 
ing the gesture, be a great fault. 

g^To complete this system of positions of the arm, there 
should be added its positions in a state of rest, (see Fig. 
13, p. 234;) and when p^Bgig to the zenith. (See Fig. 
41.) ^ 

It should be added, that for every position 
we have given of the right hand, there is a 
corresponding one for the left ; and also that 
both hands may be brought into these posi- 
tions at the same time. — To indicate still 
further the variety of gestures of which this 
system furnishes the basis, it may be re- 
marked that those already noticed have ex- 
clusive reference to the relative position of 
the hand at the termination of the gesture, 
without regard to the extent of the sweep 
by which the arm has been brought to this 
position, or to the direction or the rapidity 
of its movement. — And still further, these gestures have 
been designated with reference to the direction of the hand 
from the centre of the breast of the speaker, without regard 
to the degree to which the arm is extended. In the system 
of figures just given, (see Figs. 26 — 40,) the boldest posi- 
tions were delineated, suited to excited and stirring elo- 
quence ; whereas the colloquial elevations of the arm, as 




THE ARM. 



253 



they may be called, are much less strongly marked. For 
examples of these moderate positions, see Figs. 42, 43, 44 ; 
and compare them with Figs. 29, 34, 39. The peculiarity 

Fig. 42. Fig. 43. 




Fig. to. 




254 MANUAL OF ELOCUTION. 

of these positions is, that the arm is held nearer to the side, 
and the elbow is more bended.* 



Errors in the Positions of the Arms. 

1. All constrained movements of the arm, proceeding 
only frorrj|the elbow ; with the opposite fault of thrcwing 
the arm out straight and rigid. — These are both opposed to 



^Note to the Teacher. — The improvement of the learner 
here, as elsewhere in many other parts of this Manual, depends 
entirely on practice, and on sujj^i familiarity as will make these 
movements seem to him mor^BLrr// than any ethers, when he 
comes to the exercise of speaking^KThis may be successfully ac- 
complished by a course of training something like the following : — 
Let a class, or section of a class, take their position in the floor, — 
all occupying the second position of the right foot, with the hands 
at rest. Then, 

1. Let them present the natural state of the right hand in several 
of these positions of the arm ; while the left hand remains at rest. 

2. Let the same be done with the left hand, — carefully observing 
the position of the fingers, both in the hand which is employed in 
gesture and in that which is at rest. — Let these exercises be con- 
tinued, till the perfect command of the fingers is acquired in the 
various positions of the arm. 

3. Direct special attention to the positions of the arms, both right 
and left, while the learner passes through the positions regularly, 
as laid down in the system. — In Fig. 25, the Roman letters mark 
the points to which the right hand may be directed ; those which 
the left hand alone can reach are marked with Italics; while all the 
points o, f, and c, are reached in common by both hands. 

4. When these positions taken regularly can all be executed with 
sufficient ease and grace, then the learner may be required to pass 
from one to another indiscriminately, — with reference to making the 
transitions gracefully and in curved lines, instead of passing from 
the one to the other in a straight line, by the shortest course. 

5. The learner may be required to distinguish, in his preliminary 
practice, between the colloquial gestures, or those of moderate ex- 
tent, and the bolder gestures which bear the same name, suited to 
the drama and the more elevated efforts of the orator. 

Other exercises will suggest themselves to the teacher. When, 
as in this case, habits of action are to be formed, he need not fear 
varying or repeating the exercise too much. 



THE ARM. 255 

freedom ; and while the former is feeble in its expression, 
the latter is mechanical and awkward. 

2. All movements of the arm which cause the hand to 
describe straight lines or angles, instead of curves. — Some 
such movements may be sufficiently significant, and as such 
may be employed ; but they have little of grace or beauty 
to recommend them. 

3. The employment of any other lines of gesture than those 
already pointed out ; or the too frequent use of any one or 
two of these, either vertical or transverse, to the neglect of 
the others. — The former is inexpressive ; the latter will not 
only often be inexpressive, but must also be monotonous 
and tiresome. 

4. The inward sweep of the arm, instead of the outward, 
downward, or upward. — When the arm moves in the trans- 
verse curves, the movement of the hand should be clearly 
outward from the body ; and when it moves in the vertical 
lines, its movement should be downward or upward, but 
not inward. The inward sweep of the arm is called for 
only when the hand is to be placed upon some part of the 
body ; unless perhaps it may incline slightly inward in the 
cross gesture. 

5. The disregard of the points at which the gesture should 
terminate. — Indefinite sweeps of the arm are but unmeaning 
flourishes, which more frequently disgust than please. 

6. The too frequent use of the cross gestures. — The only 
use of this gesture is to call attention to objects on the other 
side of the speaker from that of the arm employed, or in the 
expression of antithetic ideas ; and in neither case should 
the arm often rise above the downward cross gesture. 



As in the First Part of this Manual, so here, will the 
attentive learner be struck with the extent of nature's pro- 



256 , MANUAL OF ELOCUTION. 

vision for the production of variety in the means of adding 
to the effect of mere verbal expression. Already must it 
be perfectly obvious, that there never can be occasion for 
the dull repetition of the same gesture, or of any uniform 
succession of gestures. The principles however on which 
this variety is secured, will be much more fully developed 
in the next chapter. 



PRACTICAL APPLICATION. 257 

CHAPTER II. 

PRACTICAL APPLICATION OF PRINCIPLES. 

The symbols by the aid of which sentiment and feeling 
are enforced, whether they belong to the tones or to the 
gestures, can be judiciously applied only by study and 
care. Even if it should appear that nature has in any in- 
stance made an orator without these, no one ought in his 
own case to make this an occasion of relying solely on the 
uninstructed and unaided impulses of nature. All are not 
equally gifted. Few who have attained any considerable 
degree of excellence, but have had to cultivate their natural 
powers by diligent application and persevering effort ; nor 
will he who has any j ust estimate of the value of the prize 
to be secured, complain of the price by which alone it can 
be bought. 

The chief object of these instructions is to train the orator, 
and not the actor. Hence we place at the foundation of 
all effective action — real feeling. To this we attach so 
much importance, as to allow that it will compensate many 
of the smaller blemishes of delivery, and many departures 
from the rules of strict propriety in action. But the learner 
should understand, that there is no incongruity between 
feeling and the highest grace in action. To secure the 
latter however, when the feelings are enlisted in the thought 
and the occasion, habits of graceful gesture must have been 
previously formed ; and these must be formed by private 
practice. In this way also, personal defects may often be 
concealed, by a judicious selection from among the various 
positions and gestures allowed. 

For the purpose of aiding the learner in his preliminary 
practice, I shall show in the several sections of this chapter 

22* 



MANUAL OF ELOCUTION. 

how the elements of gesture already described can be best 
applied to practice, so as to conform to the decisions of 
good taste, and to the usage of our best speakers. 



SECTION I. 

INTRODUCTORY MOVEMENTS. 

The importance of the introductory movements of the 
public speaker will appear from two brief considerations. 
First, — it is from these the audience receive their first im- 
pressions of the speaker. If he is a stranger, they have 
nothing else from which to judge of the man. Secondly, 
their minds are then perfectly free to criticise his manner, 
since they are not supposed to be occupied by any thing 
else. These movements then demand special attention. 
He should omit no proper mode of expressing respect for 
those before him, and of bespeaking their favor. Affecta- 
tion or display are peculiarly inappropriate at this time, 
when the air of modesty alone can please. 

In general terms, so far as movement and gesture are 
concerned, the orator should present himself to the audience 
modestly, and without any show of self-confidence ; at the 
same time that he avoids obsequiousness, and every thing 
opposed to true dignity and self-respect. His countenance 
should be composed, and he should look at those before 
him without any approach to a stare ; nor hasten to com- 
mence his speech, which should seem to be dictated by a 
consciousness of its importance. 

First, then, with suitable deliberation, and with a step of 
but moderate length, he should take his position ; and if, 
from his first appearance, his face is not directed to the 
audience, he should bring himself into his position by a 



INTRODUCTORY MOVEMENTS. 



259 



Fig. 45. 



gentle sweep, rather than turn abruptly on his heel or by a 
swing of the body. 

Secondly, the bow, which is the most marked and ap- 
propriate symbol of respect, should be made while the 
speaker advances to the first position of the right foot. This 
is specially important in the case of the opening bow : the 
final bow, before leaving the stage, may be made with the 
left foot advanced, if such is his position on closing his 
speech. 

Thirdly. In the graceful bow, (1) there 
should be a gentle bend of the whole 
body ; (2) the equilibrium of the body 
should be so adjusted as not to throw the 
weight of the body forward upon the ball 
of the foot ; (3) the eyes should not be per- 
mitted to fall below those of the persons ad- 
dressed ; and (4) the arms should slightly 
incline forward and inward, as they naturally 
do when the body is bent, but without any 
apparent voluntary effort. — This position is ^==i== 
represented in Fig. 45. 

Fourthly, in the act of returning to the erect position, 
from the introductory bow, the speaker should fall back 
into the second position of the advanced foot. In this posi- 
tion, without any delay, he commences speaking. Indeed 
the address — "Mr. President," or "Mr. Speaker," when 
it occurs, may be pronounced while in the act of falling 
back into this— the speaking attitude.* 




* Note to the Teacher.- — In the training of the pupil, the bow- 
may at this stage of his progress be combined with the exercise on 
the changes of the positions of the feet. As he advances from any 
of the positions, let him occasionally be directed — to advance with 
the bow and then fall immediately back into the speaking attitude. 
In case of a class, this may be done by sections, till a good degree 



260 MANUAL OF ELOCUTION. 

SECTION II. 

OF MOTION AND REST. 

While engaged in the act of speaking, there is no such 
thing as a rest of the entire person. The motion however 
is not indiscriminate ; hence we here bring together some 
general remarks on the principles by which the action of 
the speaker is to be regulated. The outline we here draw 
will be left to be filled up by the taste and good sense of 
the speaker. 

As regards the Feet, there are two opposite errors, — that 
of keeping them too fixed and immovable, and that of too 
great restlessness. The only movements, as we have seen, 
allowed in ordinary declamation, are advancing and retir- 
ing. The speaker should advance in the more earnest 
parts of the declamation, while he retires only in the less 
animated parts, and at the close of the paragraphs. The 
point at which the speaker advances, should be when the 
hand is brought into one of the front positions, on some 
emphatic word ; and the paragraphic rest should always be 
made with the feet in the second position, either of the right 
or the left foot. 

Of the Head and Trunk, it may be remarked, that they 
have but a slight motion, except merely in sympathy with 

of correctness is acquired ; then let them, one by one, in presence of 
the class, enter upon the stage, present themselves to the audience, 
fall back into the speaking- attitude, retire, advance, &c, under the 
direction of the teacher. This makes the learner familiar with the 
stage, and gives him a power of self-possession, which can, it is 
believed, in no other way be so readily acquired. This may be fol- 
lowed by the rehearsal of very short pieces — mere paragraphs, for 
the purpose of training him to the introductory movements, and to 
entering upon and leaving the stage with ease and grace. — The 
study of the next two sections will prepare him for practice on 
longer pieces, after he shall be fully exercised in these more ele- 
mentary lessons. 



MOTION AND REST. 261 

the arms and lower limbs. Embarrassment sometimes 
keeps the body fixed like a post, and makes the head mo- 
tionless. These are faults ; and so also are all writhings 
of the body, shrugging of the shoulders, and sudden turn- 
ing and jerking of the head, as well as all gestures of the 
head for the enforcing of sentiment, when not accompanied 
with the hand. 

The Eyes and Countenance of the speaker are always to 
be employed. It is by these that an audience conceives 
itself able to read the real feelings of the speaker, and to 
judge of his sincerity. While in the act of speaking, the 
eye of the speaker should search out the eye of every hearer, 
to give to his address the character of a personal appeal ; 
but without being fixed on any one so as to call the atten- 
tion of others to him as the subject of remark. This cau- 
tion is particularly necessary, when employing the language 
of invective or public censure, lest individuals should be 
offended with the idea of being publicly held up as exam- 
ples of the vices condemned. Even during the rests of the 
voice, and particularly during the emphatic pauses, the eye 
and countenance of the orator are full of expression. That 
which is uttered after such pause receives a part of its im- 
pressiveness from the idea that it comes forth warm from 
the heart, the very operations of which have been seen in 
the countenance and the' gesture. 

Of the movements of the Hands and Arms I shall speak 
more at length ; and for this purpose shall devote to them 
the next section. Here however it may be remarked, that 
the arms and hands of the speaker, when not employed in 
gesture, should hang freely by the side, without the action 
of a muscle. When entering upon the stage then, and till 
they are called into requisition for gesture, the young de- 
claimer is simply « to let them alone." If he can succeed 



262 



MANUAL OF ELOCUTION. 



in doing this, the idea of awkwardness, so far as they are 
concerned, will occur only to himself, At the close of the 
last gesture, likewise, prior to the termination of a piece or 
paragraph, the hands should fall to rest by the side. — Thus 
it appears that the rest of the hand, after it has once been 
raised in gesture, has a meaning, not less than any other 
action. 



SECTION III. 

OF THE MOVEMENTS OF THE HANDS AND ARMS. 

1. Of the hand to be employed. — A full development of 
this subject will involve a brief reference to a variety of 
circumstances connected with delivery. — When the speaker 
is reading the sentiments of another from the page of a 
book, the book should be held in the left hand, directly in 
front of the breast, and some six inches from the body ; and 
should be so far depressed as not to conceal from the audi- 
Fig. 46. Fig. 47. ence the face of the reader. 

Any gesture made by the 
reader thus embarrassed, must 
be made with the right hand ; 
and even this hand, when not 
needed for purposes of ges- 
ture, may gently touch the 
margin or corner of the book, 
to assist in turning over the 
leaves. (See Fig. 46.) In 
reading an original compo- 
sition, more gesture is ex- 
pected, but yet it must be confined to the right hand. 
(See Fig. 47.) In either case the eyes should be taken 
from the book as often as possible without producing 




GESTURES— THE HAND AND ARM. 263 

embarrassment ; and this should be done particularly at the 
close of the periods. — Any paper which the orator may 
choose to hold should be held in the left hand ; and except 
in cases of marked energy, this hand thus employed should 
not be used in gesture ; and then, never except in connec- 
tion with the other. — In reading from a manuscript, as in 
the pulpit, the left hand should rarely be used. 

Even in ordinary delivery, when both hands are free, 
the right hand takes the decided precedence in gesture. It 
will be sufficient, therefore, to enumerate some of the occa- 
sions on which the left hand may be employed. — The mat- 
ter of the oration may furnish occasion for the use of the 
left hand. When, in narrative or descriptive pieces, dif- 
ferent persons or things are represented as variously dis- 
posed, or as occupying different positions, the hands may 
be alternately employed ; also when there is antithesis in 
the sentiment, or even in the structure of the sentences. 
On introducing a new argument, or on presenting some 
new point of discussion, after one in which the right hand 
has been for considerable time employed, the left hand may 
even take the principal gesture. Such alternation of the 
hands, however, should not be frequent ; nor should the 
gestures of the left hand be long continued. 

The situation of the speaker may also lead to the employ- 
ment of the left hand, — as when the persons addressed are 
on his left side. This may occur on the stage ; and will 
often occur both at the bar and in halls of legislation, where 
the judges and the jury, in the one case, and the chair and 
the house, in the other, — are to be addressed. The one or 
the other of these will often be at the speaker's left hand. 
So with the preacher, who wishes to address himself par- 
ticularly to that portion of his hearers who are on his left. — 
Variety may occasionally though rarely lead to the use of 



264 MANUAL OF ELOCUTION. 

the left hand; as may also Hie attitude of the speaker. 
Thus, when in earnest gesture, the left foot is projected 
forward, as it must be, if in such case it is found to be the 
free foot ; or when, in starting back, the right foot has left 
the other far in advance, it would be improper to use the 
right hand for the principal gesture 

Fig- 48. Fig. 49. Fig. 50. 




Both hands may be employed at the same time, in earnest 
appeal, in expressing the ideas of extent or vastness, and 
often in animated poetic recitation. In such cases, if the 
persons addressed are precisely in front of the speaker, the 
gestures of the two hands will correspond, and will be ex- 
actly similar, (see Figs. 48, 49 ;) but if the body of the 
speaker is presented a little obliquely, which is deemed 
more graceful, then the right hand is usually more elevated 
or more advanced than the left, (see Figs. 34, 50,) — that 
of the one being called the principal, that of the other the 
subordinate gesture. 

2. Of Gesture as Principal and Subordinate. — When 
both hands are employed in gesture, as just intimated, the 
one is usually more advanced or more elevated than the 



GESTURES— THE HAND AND ARM. 265 

other. Either hand may take the precedence, though this 
honor is more generally conferred upon the right hand. 
The hand which performs the principal gesture is called the 
advanced, and the other the retired hand. The subordinate 
gesture frequently imitates that of the other hand, and is 
always in the same direction with it ; but is more moderate 
and reserved. The employment of both hands thus is 
peculiarly graceful, and is more forcible and expressive 
than the use of either hand alone. From the part which 
this subordinate gesture performs, it is not inaptly compared, 
by Austin, to the accompaniment in music. 

3. Of the Accompaniments of Gesture. — The subordi- 
nate gesture is one of the accompaniments of the principal. 
But there are other accompaniments to be attended to. 
The movements of the lower limbs, of the body, and of the 
head must all join in harmony with the principal gesture 
of the hand ; otherwise the movement will be but a mere 
imitation of nature. And even though the body and limbs 
should move in perfect concert, while the countenance 
should remain unmoved and unexcited, the entire action 
would be but that of a well- contrived automaton. With 
all of these at perfect command, and employed in harmony 
with the diversified melodies of the voice, nothing 
can be wanting for the enforcement of either thought or 
feeling. 

4. Of Gesture as Preparatory and Terminating. — Every 
act of gesture consists of two parts — the preparatory and 
the terminating movement. The last is that for which the 
gesture is made ; and the former is but the preliminary 
movement, which of necessity precedes it. The collected 
state of the hand, for example, belongs exclusively to the 
preparatory part of gesture. Again, the hand cannot be 
brought downward in emphatic expression, till it has been 

23 



266 MANUAL OF ELOCUTION. 

elevated. The elevation of the arm and hand, then, is the 
preparatory part of such a gesture. Though, in one sense, 
this is entirely a subordinate part of gesture, yet on it de- 
pend essentially the force as well as the grace of its termi- 
nation. It must be executed, neither too early, so as to 
leave the arm too long suspended ; nor too late, so as to 
make the gesture short and hurried. It should appear easy 
and natural, be made in curved rather than in straight lines, 
and should seem to be prompted, as indeed it ought to be, 
by the rising thought. — The terminating part of most ges- 
tures furnishes an example of what is called the stroke of 
the gesture. 

5. Of the Emphatic Stroke and Time of Gesture. — When 
speaking of the voice in the first part of this work, Em- 
phasis was denned, — The expressive but occasional dis- 
tinction of syllables, and consequently of the words of 
which they form a part. It is perfectly obvious, that every 
mode of giving emphasis by the voice should be suscepti- 
ble of being accompanied by gesture. Such is the case ; 
but not every form of emphasis can receive enforcement by 
the same gesture. For example, in those forms of emphasis 
of which quantity is the chief element, the hand moves in 
the horizontal curves, or rises towards the zenith ; whereas 
in all the forms in which short quantity prevails, the move- 
ment is downward, and in the vertical circles. Even in 
those forms of emphasis which require long quantity, the 
accompanying movement varies with the point at which the 
stress is laid. In the Median emphasis, the gesture may 
have no abrupt termination ; while in the Vanishing em- 
phasis, the gesture terminates abruptly, though with a full 
extension of the arm outward or upward ; and not, as in the 
Radical emphasis, with a descent to one of the points de- 
signated. 



GESTURES— THE HAND AND ARM. 267 

It is to gestures which have an abrupt termination, and 
particularly to such as accompany the radical stress, that 
the remarks under this head are devoted. The instrument 
with which gesture is made is compound — consisting of the 
upper arm, the fore arm, and the hand ; and each of these 
has an independent motion. When the arm is brought 
down in gesture, it does not, therefore, fall as though it had 
only an articulation at the shoulder ; but the upper arm 
first falls into its position, then the fore arm, and then the 
hand and fingers. This finishes the gesture, and marks its 
complete termination ; and this action of the hand is called 
the stroke of the gesture. This is susceptible of every de- 
gree of force, according to the velocity with which the 
hand has moved, and the extent through which it has 
passed ; and should correspond, both as to time and energy, 
with the vocal emphasis, so that the emphatic distinction 
given to any syllable by gesture may fall upon the eye at 
the same point of time with the greatest stress of the voice, 
and, as regards energy of expression, harmonize with it. 

This requires care, as to the preparatory gesture, that it 
be not commenced too soon, nor deferred too late ; yet such 
is the sympathy between the feeling, the vocal expression, 
and the action, that when once the command of all the 
elements of expression has been acquired, and freedom of 
feeling and action has been secured by well-directed prac- 
tice, there will rarely be any jarring between them : the feel- 
ing will find a ready and adequate expression, both in the 
voice and in the accordant gesture. 

6. Of Gesture as Significant and not Significant. — The 
pointing of the index finger, the placing of the finger on the 
eye, the laying of the hand on the head or on the breast, 
would be examples of significant gestures. Gestures may 
be significant by nature, or may become so by convention. 



268 MANUAL OF ELOCUTION. 

The other class of gestures though less imposing are 
more important. Of these, Austin says, — " They differ 
from the others, because they may be used in any part of 
an oration, and belong to every character of style and 
speaking, and are as it were the elements and roots of ges- 
ture, which by their combinations produce its whole power 
of language and expression. These constitute the compo- 
nent parts of every style of delivery, whether tame or vehe- 
ment, argumentative or diffuse, ardent or indifferent, cold 
or pathetic." To this class belong the gestures of which 
we are chiefly speaking in this section, — all indeed which 
are recognised in Fig. 25, and still further represented by 
Figs. 26 — 40. — More will be said of the significant ges- 
tures in the Appendix. 

7. Transition of Gesture. — When the hand has once 
been brought into action in gesture, instead of dropping to 
the side, and then being brought up again for a similar 
purpose, it should generally remain in its position till re- 
lieved by the other hand, or till it passes into a state of pre- 
paration for a succeeding gesture. The term transition 
may be applied to the passing thus from any one gesture to 
another — whether from one principal gesture to another of 
the same hand, or from the gesture of one hand to that of 
the other. The rules for such transitions have been given. 
The term is however used in a sense more analogous with 
the same term as applied to the voice, when it is made to 
refer to such changes as arise from transitions in the senti- 
ment, — whether they are sudden and abrupt; or more 
gradual, like those which take place in the regular progress 
of a discourse. At this point, it need only be remarked, 
that these last-named transitions of gesture should never be 
made, except when dictated by such transitions of thought 
and sentiment as call for corresponding changes in the 



QUALITIES OF GESTURE. 269 

vocal expression. Transitions, then, in the management 
of the voice, and in gesture, are regulated by the same 
principles.* 



SECTION IV. 

OF THE QUALITIES OF GESTURE. f 

From what has been said, it is obvious, that we may 
with propriety speak of different styles of gesture, suited to 
different objects and occasions. The better to understand 
the characteristic difference of these styles, we proceed to 
enumerate the Qualities on which such difference depends. 
Those qualities in which the excellence of gesture consists 
are, Magnificence, Boldness, Energy, Variety, Simplicity, 
Grace, Propriety, and Precision. These will be briefly 
noticed, with an allusion to the imperfections to which they 
are opposed. 

1. Magnificence of Gesture — is secured by perfect free- 
dom of movement. The arm moves from the shoulder, 
and the hand is carried through an ample space. The head 
moves freely, the body is erect, and the step is free and 

* At this point, the attentive learner is prepared successfully to 
prosecute privately, to any extent, the preparation for his public 
declamations. First, he should apply the principles of expression 
to the reading of the selected piece, — at the same time employing 
with care the suitable emphases and forms of cadence. Secondly, 
he should study the gestures best suited to all its different parts. 
Thirdly, when well committed, he should rehearse it by himself — 
in his study, in the woods, or, like Demosthenes, by the sea-shore ; 
nor need he stop till his execution equals his ideas of excellence, 
though he may repeat it a thousand times over. Such practice 
on a single piece well chosen, will benefit the learner more than 
the mere repetition upon the stage of volumes of the most eloquent 
matter ever issued from the press. 

-j- Little more is attempted in this section, than to condense the 
views of Austin, as set forth in Chap. xx. of the Chironomia. 

23* 



270 MANUAL OF ELOCUTION. 

firm. — Opposed to this are contracted gestures, constrained 
motions, short steps, and doubtful and timid movements. 

2. Boldness of Gesture — is exhibited in striking but un- 
expected positions, movements, and transitions. It is the 
offspring of a daring self-confidence, which ventures to 
hazard any action which it is conceived may either illus- 
trate or enforce. The courage thus to execute is only 
valuable, when under the guidance of good taste. — The 
opposite of this is ta?neness, which hazards nothing, is 
distrustful of its powers, and produces no great effect. 

3. Energy of Gesture — consists in the firmness and deci- 
sion of the whole action ; and these depend very materially 
on the precision with which the stroke of the gesture is 
made to support the voice in marking the emphasis. Let 
bad habits be overcome, and a ready command of all the 
elements of gesture be acquired, — then will energy of ges- 
ture be the necessary result of a clear head and a warm 
heart. — Its opposites are feebleness and indecision. 

4. Variety of Gesture — consists in the adapting of ges- 
ture to the condition and ever-varying sentiment of the 
speaker ; so as to avoid a too frequent recurrence of the 
same gesture, or the same set of gestures. — It is opposed 
both to sameness of gesture, and to mechanical variety. 

5. Simplicity of Gesture — is perfectly free and unaffected, 
and appears to be the natural result of the situation and 
sentiments of the speaker, — presenting evidence neither of 
studied variety nor of reserve. — Its opposite is affectation. 

6. Grace of Gesture — is the result of all other perfec- 
tions ; arising from a dignified self-possession of mind, and 
the power of personal exertion practiced into facility after 
the best models, and according to the truest taste. This 
usually therefore depends more on art than on nature ; and 
has more to do with pleasing the fancy than with producing 



QUALITIES OF GESTURE. 271 

conviction. It suggests not a single movement, but sim- 
ply preserves the gestures employed for other purposes from 
all awkwardness. — The opposites of this are awkwardness, 
vulgarity j or rusticity. 

7. Propriety of Gesture — always indicates some obvious 
connection between the sentiment and the action. It im- 
plies the use of such gestures as are best suited to illustrate 
or to express the sentiment ; and thus often calls into use 
the significant gestures. — The opposite of this is solecism in 
gesture, implying the recurrence of false, contradictory, or 
unsuitable gestures. 

8. Precision of Gesture — arises from the just preparation, 
the due force, and the correct timing of the action. The 
stroke of the gesture must not only fall on the emphatic 
syllable, but its force must exactly suit the character of the 
sentiment and the speaker. This gives the same effect to 
action, that neatness of articulation does to speech. — The 
opposites are — gestures which distract the attention, while 
they neither enforce nor illustrate the sentiment. Such are 
most of those which consist in a mere swing of the arm, 
while the stroke of the gesture is wanting. 

The Styles of gesture, for all practical purposes, may be 
reduced to three ; the Epic, the Rhetorical, and the Collo- 
quial. 

The Epic Style is suited to the delivery of tragedy, epic 
poetry, and sublime description ; and calls into requisition 
all the qualities of gesture just enumerated. Boldness is 
peculiar to this style of gesture, and magnificence is rarely 
admissible elsewhere ; hence these qualities are seldom ex- 
hibited but in the theatre. 

The Rhetorical Style requires energy, variety, simplicity, 
and precision ; and cannot be exhibited in its highest per- 



272 MANUAL OF ELOCUTION. 

feetion, without grace of action. This is the style of oratory 
• — whether in the pulpit, in the senate, or at the bar. 

The Colloquial Style is the opposite of the Epic. The 
gestures of the hand, when employed, proceed mainly from 
the elbow, and exhibit only the qualities of simplicity and 
grace, except so far as precision will follow as a matter of 
course. The emphasis however is more frequently marked 
by a moderate nod of the head, than by the movements of 
the hand. — This style is employed in the intercourse of 
polite society, and by persons who deliver lectures in the 
sitting posture. The principal dependence, in such cases, 
for the effect required, is on the countenance, the direction 
of the eye, and the intonation of the voice. 



GENERAL PRECEPTS, 273 



CHAPTER III. 

GENERAL PRECEPTS, 



SECTION I. 

OF THE FREQUENCY, MODERATION, AND INTERMISSION OF GESTURE, 

Gesture is valuable, only as it illustrates or enforces 
sentiment. It requires then to be managed with great dis- 
cretion, lest it seem to take the lead of sentiment, or con- 
flict with its expression. The absence of gesture is to be 
preferred to either of these ; and this, it is presumed, is the 
cause why so little gesture is used among speakers who 
have not studied the art sufficiently to acquire a confidence 
in their skill in its employment. The speaking without 
gesture, or the uttering of exciting sentiments with only the 
gestures which belong to the colloquial style, is an unna- 
tural phenomenon — a violent sundering of what nature's 
earliest and strongest dictates have joined together. The 
cause of such unnatural disruption, if carefully sought for, 
will probably be found in the almost total neglect of this 
branch of elocution in our schools, connected with the idea 
which most young speakers have, that it is better to use 
little or no gesture, than to attempt the employment of an 
agent whose power they have never learned to wield. To 
avoid the practical errors, then, of speaking without action, 
or of using too feeble a style of action, the young speaker 
needs nothing but first to have the full command of the 
elements of gesture, and then to have his mind strongly 
imbued with the principles by which he should be guided 
in their employment. It is to the further development of 
these principles, that this chapter is devoted. 



274 MANUAL OF ELOCUTION. 

One may be in possession of all the elements of the most 
effective and graceful system of gesture, and yet fail in ap- 
plying them to practice. The gesture may be varied, grace- 
ful, and appropriate ; and yet fail of its legitimate effect, 
from being too frequent or too violent. An important gene- 
ral precept may be given in regard to both these errors, 
viz. : — that the orator should never for a moment seem to 
lose his self-possession, or to forget the respect due to the 
audience whom he is endeavoring to instruct or persuade. 
Constant action of such a character as to attract any atten- 
tion, is not required even on the stage. Dr. Gregory says 
of Garrick, — « He used less action than any performer I 
ever saw." The orator then may well put himself on his 
guard against all excess both as to frequency and violence. 
By so doing, he will preserve his own dignity and secure 
the respect of his audience, at the same time that he will 
be able to keep the command of himself. With only mo- 
derate gestures, accompanied with moderate tones of the 
voice, the passions of the speaker can never get beyond his 
control. 

1. To be more particular, gesture should be in accord- 
ance with the character of the speaker. — With the actor, the 
character may be assumed ; and the action may thus vary 
as the assumed character varies. The orator, except when 
for a moment he would personate another, always appears 
in his own — his true character ; and he should use caution 
never to transcend the standard of manly decorum which 
he deems suitable to himself. This standard however 
should be fixed with reference to the age of the speaker, 
and to his position in society ; — more vivacity and variety 
being allowed in the young speaker than with one who is 
aged, or in the pleader at the bar than with the judge on 
the bench.— Within this outermost limit of propriety fixed 



GENERAL PRECEPTS. 275 

by the speaker's idea of decorum, there are many stages. 
The gesture of the same speaker may then vary with his 
feelings, never transcending them, even though he sup- 
poses them below the interest of his subject. The voice 
also, as the best index of the feelings, should do much to 
regulate the action. If it be languid and dull, it will be 
in vain to attempt anything like energy or brilliancy in the 
action. So also the sentiment and the style of the language 
employed may determine the frequency and energy of the 
action, within the limits prescribed. 

2. The orator should adapt his style of gesture to the 
character of his audience. — This is so obvious as scarcely to 
need illustration. An address to a popular assembly admits 
a boldness of action, which would be considered entirely 
out of place in one delivered to a prince, or in an argument 
before a bench of judges. The animated popular harangue 
admits a style of gesture bordering on the very extreme 
limit to which decorum allows the speaker to proceed. 

3. The orator should vary his style of gesture, with the 
objects of his address. — Abstract reasoning and demonstra- 
tion have nothing to do with oratory; and just so far as the 
speaker makes his address to the understanding alone, so 
far may he discard all the aids of rhetorical action. The 
syllogisms of the logician, mere naked evidences of facts, 
and law arguments, would be examples of appeal to the 
understanding alone ; and any considerable action would 
in these cases be entirely out of place. Facts, statistics, 
the details of calculation and finance, evidence, law, and 
logical deductions, occupy a prominent place at the bar 
and in the business of legislation ; and just so far as these 
exclude appeals to the feelings, and to the heart, gesture is 
unimportant. Only that of the most limited kind is called 
into requisition. Of the same character also are those ser- 



276 MANUAL OF ELOCUTION. 

mons or portions of sermons in which the doctrinal points 
of Christianity are discussed and explained, where fidelity 
and precision are chiefly requisite. — But if persuasion be 
the object, as in most appeals from the pulpit, as on 
many occasions which arise in the senate, and as is gene- 
rally the case, when the advocate wishes to influence the 
opinions of a jury, then will the orator use more graceful, 
more flowing, and more various gesture. Feeling and 
imagination constitute the only basis of gesture. In the 
absence of these, it follows, then, that action should be 
wholly intermitted. This may occur with a transition in 
the sentiment, in the very midst of a discourse, and after 
the hands may have been fully employed in action. Such 
intermission of gesture is usually preceded by a para- 
graphic rest. All action of the hands and arms may like- 
wise be intermitted during a burst of rapid utterance, or in 
the expression of deep and overwhelming emotion, as in 
despair and inconsolable grief. In the one case, the ges- 
ture cannot be effectually applied, for want of time for the 
preparatory movements; and in the other, the soul seems, 
in giving expression to its wo, to disdain all art, relying 
solely on the tones of the voice and the expression of the 
countenance, sometimes even refusing the aid of words. 
Action would be as inappropriate at such times, as its ab- 
sence would be in giving utterance to the active passions. 
A more particular application of some of these principles 
to the different parts of a discourse will be presented in the 
next section. 




GENERAL PRECEPTS. 277 



SECTION II. 

OF GESTURE AS CONNECTED WITH THE DIFFERENT PARTS OF A 
DISCOURSE. 

All discourses are not alike in their structure and ar- 
rangement ; hence no technical rules can be laid down — 
such as can be applied by the speaker in any instance with- 
out thought and reflection. But yet, all discourses have a 
beginning and an end, and consist mainly of an introduction, 
of narrative or explanation, of argumentation, of appeals to 
the feelings, and of a conclusion. These are not all found 
in all discourses ; nor do they always occur in the same 
order. In orations, sermons, lectures, and even popular 
harangues, — indeed almost everywhere except in delibera- 
tive bodies where the speaker is well known, and may 
have previously addressed his fellow members on the 
subject in hand, there will be with rare exceptions 
something like an introduction, more deliberate and unim- 
passioned than that which follows ; and a conclusion, dif- 
fering somewhat from that part which has preceded. If 
the discourse has been mainly argumentative, then the 
conclusion or peroration may, and generally will, be the 
most impressive part. If, on the contrary, it has consisted 
mainly of an exciting appeal, the conclusion may partake 
rather of the nature of an address to the judgment, lest the 
audience should too suddenly forget why they had been 
moved. 

In no speech, or discourse, does the orator change his 
own character, in the sense in which an actor may do it. 
Yet in a practical and very important sense he may change 
his character. As a reasoner, engaged in the more deli- 
berate parts of his discourse, he sustains a relation to his 
audience quite different from that which he bears, as the 

24 



278 MANUAL OF ELOCUTION. 

exciter of their passions and the mover of their hearts. 
Consistency of character does not then demand a perfect uni- 
formity in the gestures of the orator. Neither does the real 
character of an audience change in any very literal sense, 
during the delivery of a discourse ; and yet practically 
there is a change. Two distinct assemblies can scarcely 
differ more, than the same audience when curiously 
listening for the first time to the opening accents of a 
speaker's voice, and when again they sit absorbed in 
thought, their judgments convinced by his reasonings, and 
their feelings swayed and moved in perfect sympathy with 
his own. If we refer to the objects of the address, it is the 
same. Almost every discourse has, or should have, some 
leading object in view; and yet this is perfectly consistent 
with a series of subordinate objects — extending from the 
first effort to conciliate the feelings of those whom the 
speaker addresses, onward to the last impression which he 
would leave on the minds of his audience. — No one of the 
principles, then, developed in the last section, requires that 
the gestures be uniform throughout a discourse. 

Of the matter of the introduction to a discourse, it is 
not my purpose to speak. But, obviously, the introduction 
should have for its object to conciliate the audience, to be- 
speak their favor, to secure their attention, or to prepare 
them to receive the impression the speaker wishes to make. 
In an introduction, these objects may all be united ; nor can 
any of them be better secured than by an air of simple 
modesty on the part of the speaker. No mark of respect 
should be overlooked. The low pitch and the small 
volume of voice heretofore recommended are indicative of 
such respect ; and his entire action should accord with this 
feeling. The eye should rather be downcast, than staring; 
the countenance should be composed ; and as to gesture, 



GENERAL PRECEPTS. 279 

there should be none or but very little, nor should that 
transcend the colloquial style. 

That part of a discourse devoted to narration, as in 
pleadings at the bar ; or to explication, as in most sermons, 
has more of action, as it has more of earnestness ; and more 
freedom of gesture, as the feeling of modesty on the part 
of the speaker becomes absorbed in the interest of his sub- 
ject. In this, therefore, as also in the argumentative parts 
of a discourse, the colloquial style of gesture will often 
yield to the rhetorical ; and the interest of the speaker, as 
he approaches the conclusion of an argument, or the climax 
of his successive trains of thought, will exhibit itself in a 
freer movement of the arm, and a louder tone of voice. 

The force and chief ornaments of gesture will be reserved 
by the judicious speaker for those parts of his discourse 
for which he reserves the brilliancy of language and of 
thought ; that is, for those parts which are intended to ap- 
peal to the feelings of his audience. On these parts alone 
can the orator's powers be fully exhibited ; nor should any 
attempt be made to protract the pathetic or exciting parts 
of a discourse to any great length. Just so long, however, 
as the voice and the language are in consonance with these 
warm emotions, should the gesture remain free and uncon- 
strained ; and till we find the place from which boldness 
and magnificence of language are excluded, there will be 
no occasion to exclude even the epic style of gesture. The 
proper occasions for its employment, however, are rare, and 
from the nature of the case must be of short continuance. 

In passing, it may be remarked, that every part of an 
oration or other discourse may have its digressions ; and 
these, it is obvious, are to be pronounced with a voice and 
gesture suited to their spirit, even though gesture be wholly 
suspended by their recurrence. These, then, should but 



280 MANUAL OF ELOCUTION. 

rarely, perhaps never, occur in those parts which are ad- 
dressed to the passions. These interruptions turn aside the 
current of feeling, and give the subject of the emotion time 
to rally his powers of resistance. 

Of the conclusion, it may be sufficient to say, that the 
gestures should correspond with its spirit — its matter, and 
the feeling with which it is pronounced. It may, or may 
not, be accompanied with gesture ; and when it is, the ges- 
ture may be more or less bold and free. — The final adjust- 
ment of the hands to rest, at the close either of a paragraph 
or a discourse, is most graceful, when immediately preceded 
by a gesture of the right hand alone ; and that, some other 
than a cross gesture. The gesture of both hands, or even 
the cross gesture of the right, should then be avoided as a 
concluding gesture. 



APPENDIX. 



CHAPTER IV. 

HINTS ON THE ELOCUTION ADAPTED TO THE PULPIT. 

He who supposes that Elocution is to be studied for the 
express purpose of producing a variety in the vocal move- 
ments, and an amount of action in speaking, proportioned 
to the profusion with which nature has famished the ele- 
ments of expression, has mistaken its object. The study 
of Elocution has for its object to improve the taste and 
correct the judgment as regards the extent to which into- 
nation and gesture shall be carried, and also as to the kind 
to be employed, as well as to furnish the materials from 
which to make the selection. The principles of Elocution 
are as necessary to teach one when to abstain from the 
vocal expression of excited feeling and from action, as 
when to use them ; and as necessary to direct him who 
uses the least of oratorical expression, as him who uses the 
most. « This art," says some one, speaking particularly 
of gesture, "may serve the same excellent purpose to 
the awkward gesticulator, for which the father sent his 
clownish son to the dancing school, that he might learn to 
stand still." 

The just elocution of the pulpit, however, is as far re- 
moved from a state of perfect inaction, as from the pas- 
sionate and diversified action of the theatre. The latter, all 
unite in condemning as unsuited to the true dignity of the 
pulpit; while the former also is equally condemned by all 

24* 281 



282 MANUAL OF ELOCUTION. 

sensible men. Addison deemed it a just cause of com- 
plain^ that the preachers of his time "stood stock still in 
the pulpit, and would not so much as move a finger to set 
off the best sermon in the world ;" at the same time that he 
remarks on the " smooth continued stream" in which their 
words flowed, and the " insipid serenity" of countenance 
of their orators generally. Sheridan repeats the same 
charge against the pulpit in particular ; and says that on 
this account, « the greater part of the members of the 
English church are either banished from their places of 
worship through disgust, or reluctantly attend the service 
as a disagreeable duty." There must be an Elocution, 
then, which is adapted to the pulpit, — which so harmonizes 
with the place and with the subjects usually treated there, 
as to please and gratify the eye, at the same time that the 
ear is delighted with the melody of a well-trained voice. 
To adopt the language of an old English divine, — " I ima- 
gine, that through the regulations of taste, the improvements 
of experience, the corrections of friendship, the feelings of 
piety, and the gradual mellowings of time, — such an elocu- 
tion may be acquired as is above delineated ; and such as 
when acquired will make its way to the hearts of the 
hearers, through their ears and eyes, with a delight to both 
that is seldom felt ; whilst, contrary to what is commonly 
practiced, it will appear to the former the very language of 
nature, and present to the latter the lively image of the 
preacher's soul." And with this same writer I will add, 
" Were a taste for this kind of elocution to take place, it is 
difficult to say how much the preaching art would gain 
by it." 

The pulpit furnishes the best field for a powerful oratory, 
that the world has ever seen. The themes it presents for 
discussion are sufficiently various, and all of them involving 



ELOCUTION OF THE PULPIT. 283 

interests of the very highest moment — the interests not of 
small portions of the audiences addressed, but « the uni- 
versal and most important interests of mankind ! far beyond 
those for which the thunder of Demosthenes rolled in 
Athens — far beyond those for which Cicero shook the 
senate-house in Rome." The pulpit orator also enjoys a 
freedom of selecting and adapting his subjects to the case 
in hand, and to his own taste and powers, which is 
scarcely found elsewhere ; and these are such as to raise 
him above the charge either of weakness or affectation, 
however warm and ardent may be his appeals. Every one 
knows that for him not to feel — would of itself prove him 
unfit for the place he occupies. In proof of the inspiration 
connected with the pulpit, many of the sermons which have 
been preserved, in Latin, in English, and in French, are 
enriched with all the taste of classic elegance; and as 
specimens of written eloquence, have scarcely been sur- 
passed or even equaled. It is fortunate for the church and 
the world, as well as for the cause we advocate, that there 
have also been in the church those who were masters of all 
the arts of oral eloquence, from the Patriarch of Constanti- 
nople,* who was himself the pupil of the most celebrated 
rhetorician of his time, down through every age of pros- 
perity in the church, even to the present day. The perfect 
union of the chaste style of many of the English divines 
with an action which shall give to him who effects it a dis- 
tinction equaled only by his usefulness, is an object which 
may well excite the emulation of some of the many young 
men of our country, who, called by God to the sacred 



* He has been called the Homer of orators, and was surnamed 
Chrysostorn, which signifies golden mouth, on account of his 
eloquence. 



284 MANUAL OF ELOCUTION. 

office, are preparing themselves for the responsibilities of 
their high calling. 

But what are the peculiar elements that belong to the 
Elocution of the Pulpit ? — As regards the voice, very little 
remains to be said here. The principles of vocal expres- 
sion have been pretty fully discussed ; and nothing can be 
more obvious, than that the preacher should have the per- 
fect command of every pitch of his voice, of every degree 
of force, and of all the elements of expression. Still the 
elements of dignity and energy should greatly predominate 
in most of the exercises of the pulpit. Portions of almost 
every sermon, however, should be pronounced with the 
natural voice, and in the diatonic melody; while there 
are occasions of frequent occurrence, on which the success 
of the preacher's appeal depends entirely on the employ- 
ment of the elements of Plaintiveness. Without these, he 
can neither make others feel, nor make them believe that 
he has feeling himself. — With only some further incidental 
allusions to the voice, we shall devote the section to an 
enumeration of a few of the principles by which the action 
of the pulpit should be regulated. 

In general it may be remarked, as regards the sermon 
merely, that just as far as it partakes of the character of an 
oration, or ordinary discourse, so far are all the suggestions 
of the last chapter applicable to it. I choose, however, for 
the purpose of making this subject strictly practical, to 
extend my remarks so as to cover all the action of the 
Christian minister, while in the house of God ; and shall 
reduce all I deem it important here to say, to a very few 
general principles. 

First. — The preacher should studiously avoid every 
thing in his manner, which can have a tendency to divert 
the attention of his hearers either from the sacredness of the 



ELOCUTION OF THE PULPIT. 285 

occasion, or the matter of the subjects discussed. — The 
most objectionable manner which he can assume, is that by 
which he seems to make an effort to show off himself to 
advantage. Thus if he enters the church, or ascends the 
pulpit, or rises in it to address the assembly, with the air 
of a fine gentleman, " as if he were practicing the lessons 
of an assembly-room," his audience cannot but perceive the 
incongruity, and lose their confidence in him as a divinely 
inspired teacher.* For the same reason, any attempt to 
adjust the hair or any part of the clothing is particularly 
objectionable in the Christian minister. It suggests the 
idea, that his thoughts are concerned about his personal 
appearance. Nearly the same objection lies to the reading 
of the hymn, or the performing of any of the other prelimi- 
nary or closing exercises in a rhetorical manner, or with 
any gesticulation ; or to the employment, at any time, in the 
pulpit, of theatrical action, such as folding the arms, and 
the like. This appears like an attempt to display his ora- 
torical powers ; and is entirely at variance with the air of 
modest dignity which should chiefly characterize these 
exercises, f 

* What ! — will a man play tricks — will he indulge 
A silly fond conceit of his fair form, 
And just proportion, fashionable mien, 
And pretty face, in presence of his God 1 
Or will he seek to dazzle me with tropes, 
As with the diamond on his lily hand, 
And play his brilliant parts before my eyes, 
When I am hungry for the bread of life 1 ? 
He mocks his Maker, prostitutes and shames 
His noble office, and, instead of truth, 
Displaying his own beauty, starves his flock. 
— — — -How a body so fantastic, trim, 
And quaint, in its deportment and attire, 
Can lodge a heavenly mind— demands a doubt. Task. 

j- Fenelon says, — " Sometime ago, I happened to fall asleep at a 
sermon ; and when I awaked, the preacher was in a very violent 



286 MANUAL OF ELOCUTION. 

There are a thousand other ways in which the preacher 
may, by carelessness, or by habit, divert the attention of his 
audience from the matter in hand. Dr. Porter says, — " In 
minor points, what constitutes decorum depends not on 
philosophy nor accident, but on custom. From real or 
affected carelessness on such points, the preacher may fix 
on some trivial circumstance, that attention of his hearers, 
which should be devoted to greater things. He may do 
this, for example, by standing much too high, or too low in 
the pulpit ; by rising, as in the act of commencing his ser- 
mon, before the singing is closed ; or delaying for so long 
an interval as to excite apprehension that something has 
befallen him ; by an awkward holding his Psalm-book, or 
especially his Bible, with one side hanging down or doubled 
backwards ; by drawing his hands behind him, or thrusting 
them into his clothes." — He will as certainly accomplish 
this object, by adopting awkward and false attitudes, by 
any unusual contortions of the features of the face, by fin- 
gering the leaves of the Bible, by handling his handker- 
chief too frequently, or by any other misuse of his hands. 
For a specification of particulars under these heads, see 
lists of errors appended to Sections III, IV, and V, of 
Chap. I, Part II. 

The voice of the speaker also may be instrumental in 
turning aside the attention of the hearer. The commencing 
on too low or too high a note ; with too full or too feeble a 
voice ; the employment of a drawling manner, or of any 
peculiar tones or quality of the voice ; any unusual mode 
of announcing the text, or the hymn, — these are but a 

agitation, so that I fancied, at first, he was pressing some important 
point of morality. But he was only giving notice, that on the 
Sunday following, he would preach on repentance. — I was ex- 
tremely surprised to hear so indifferent a thing uttered with so 
much vehemence." 



ELOCUTION OF THE PULPIT. 287 

few examples of the various ways in which the teacher 
of divine truth may himself contribute to destroy the effect 
of his own instructions. — Of the same character is the mis- 
applied use of the Vocule,* as when heard at the close of 
sentences in prayer, and sometimes in the delivery of ser- 
mons from the pulpit, to the entire destruction of devotional 
feeling in the heart of every one whose ear is not equally 
insensible to all the beauties as well as the defects of 
delivery 

Second. — The preacher's manner should be characterized 
by reverence and modesty. — He should feel reverence for 
the place, as the sanctuary of the Most High ; and modesty, 
as being what he is, only by grace. In view of the first 
of these principles, » Gesture," in the language of Dr. 
Porter, "is felt to be unseasonable in personating God, 
and in addresses made to him. When we introduce him as 
speaking to man, or when we speak of his adorable per- 
fections, or to him in prayer, the sentiments inspired demand 
composure and reverence of manner. Good taste then can 
never approve the stretching upward of the hands at full 
length, in the manner of Whitefield, at the commencement 
of prayer ; nor the frowning aspect and the repelling move- 
ment of the hand, with which many utter the sentence of 
the final judge, « Depart, ye cursed,' &c." Good taste, 
on the same general principle, also cannot fail to condemn 
any thing like a low anecdote, or a jest, in the pulpit. 

'Tis pitiful 
To court a grin, when you should woo a soul : 
To break a jest, when pity would inspire 



* I have recently seen this characterized, in some one of our reli- 
gious newspapers, as the "pious grunt.'''' By whatever name 
called, it cannot but be in a high degree offensive to any but the 
most perverted taste. 



288 MANUAL OF ELOCUTION. 

Pathetic exhortation ; and to address 
The skittish fancy with facetious tales, 
When sent with God's commission to the heart ! 
So did not Paul. 

In regard to the last of these principles, Austin, himself 
a clergyman, remarks : — " If, on ordinary occasions, and in 
the common business of life, modesty of countenance and 
manner be a commendable grace in a public speaker ; such 
modesty is much more to be desired, or is rather indispen- 
sable, in the sacred orator. When he pours out the public 
prayers to God, when he reads and expounds his laws ; he 
cannot fail to recollect, that he is himself equally obnoxious 
to their sanctions, and equally in need of mercy as his con- 
gregation ; and that he kneels only as one among the sup- 
plicants, and that he stands up only as one among the 
guilty before his unerring judge. Vanity and presumption 
in such a situation would be more than indecorous. Hu- 
mility is the proper characteristic of a Christian minister." 
" But this humility," it is very properly added, " is not 
incompatible with earnestness of manner, nor with the just 
confidence which every public speaker should appear to 
have in the truth of what he delivers." 

It is on this general principle, that the use of the free 
Diatonic Melody, or of the strongly marked Downward 
Slides, would be improper in the language of prayer, or in 
reading or repeating the words in which God has chosen 
to address mankind. — It is thus that all personal invective, 
whether by word or action, and every tone and look ex- 
pressive of indignation, are excluded. — It is on this ac- 
count likewise, that all the artifices of the stage — 
All attitude and stare 
And start theatric, practiced at the glass, 

are excluded from the sacred desk. Cicero censures the- 



ELOCUTION OF THE PULPIT. ' 289 

atrical action even at the bar ; how much less appropriate 
is it to the pulpit ! Even the orator's art is employed here, 
only to give expression to real feeling. Every species of 
cant or affectation is then excluded from the pulpit; and 
why should it not be, when a firm belief in the truth of 
the principles to be inculcated, and a serious feeling of 
their importance, remove all necessity of any affectation, 
either of voice or manner ? Such belief and such feeling, 
on the part of the preacher, says Dr. Blair, " will always 
give an earnestness and strength, a fervor of piety to his 
exfiortations, superior in its effects to all the arts of studied 
eloquence ; and, without it, the assistance of art will seldom 
be able to conceal the mere declaimer." 

Without the Christian sensibility here referred to, and 
that expansion and elevation of soul which can arise only 
from a just feeling of religious truth, it is admitted that all 
the arts of elocution are vain to constitute a Christian 
minister. These are presupposed, as at the very basis of 
Christian oratory ; since, without them, preaching, with 
every attraction that can be thrown about it, will be but 
" as sounding brass or a tinkling cymbal." It is, however, 
perfectly consistent with this admission, that the religious 
teacher should do all in his power to improve his taste and 
judgment, as to the most effective means of giving expres- 
sion to his feelings ; and that he should train his voice to 
the execution of all that a taste thus improved can direct. 
And this can scarcely be done, but by the study of elocu- 
tion according to some good system. Without such study, 
Christian sensibility often expresses itself in an almost un- 
broken Monotone, rendered perhaps still more offensive 
by the constant employment of the Chromatic Melody, or 
of the Tremor, — elements of great power when properly 
employed, but never intended to be desecrated by constant 

25 



290 MANUAL OF ELOCUTION. 

use. Indeed the pulpit is very specially exposed to mo- 
notony, while the dialogue of the stage almost effectually 
excludes it ; and even in the senate and at the bar, a free 
colloquial style of delivery is much more naturally and 
universally adopted. 

Third. — The preacher should never seem, by any pecu- 
liarity of manner, to lose the command of himself. — In ad- 
dition, then, to improving the taste and cultivating the voice 
by study, the Christian orator should discipline his will to 
a perfect self-possession. Calmness and collectedness of 
manner alone seem accordant with the solemn grandeur of 
his work. To such self-possession, a perfect command of 
the gestures greatly contributes, because by restraining the 
action when it is in danger of becoming excessive, a more 
perfect control is preserved over the mental excitement ; and 
even aside from this, such restraint may conceal the strong 
workings of passions, which though the speaker may feel, 
it may not be expedient for him fully to express. 

The action of the pulpit differs from" that of the stage 
only in degree. It is performed by the same beings, by the 
use of the same instruments, and for the same general pur- 
poses. It cannot, then, be expected to differ, in all respects, 
from the action of the theatre ; but only so far as it is put 
forth under different condi.ions. One of these condiions, 
and the one to which our attention is here chiefly directed, 
is — that the preacher is not at liberty to indulge in any 
public expressions of excitement, which can properly be 
construed into a violation of the principles of self-respect, 
or of true dignity of character. Such, I conceive to be all 
bawling and vociferation in the pulpit — a vice of pulpit 
oratory always condemned, yet practiced by too many, re- 
gardless alike of its destructive effects on themselves, and 
of its unfitness for their purposes. Such also is the smiting 



ELOCUTION OF THE PULPIT. 291 

of the pulpit or the Bible with the hands, or stamping with 
the feet; or, except under very special circumstances, weep- 
ing so as to distort the countenance, or interrupt the regular 
flow of delivery. — How different the effect of such exhibi- 
tions, from that produced by the earnest but graceful action 
of him who stands up in the true dignity of an ambassador 
for Christ ; and, while perhaps the manly tears may dim 
his eye or fall in rapid succession over his cheek, yet with 
firm and unfaltering voice, prays his fellow men in Christ's 
stead to be reconciled to God ! 

I shall close these suggestions with a few words in re- 
gard to the proper structure of pulpits. — From time imme- 
morial, both in England and in this country, the local 
situation of the preacher has been any thing but favorable 
for either the graces or energies of delivery. The state of 
things in this respect is improving ; and just as soon as the 
principles of delivery are properly understood by those who 
occupy our pulpits, will there be a universal change. — The 
platform upon which the preacher stands, should be raised 
only about as high as the breasts of the congregation ; and 
for extemporaneous delivery, all that is required farther is 
a chair or sofa, and a table not sufficiently high to embarrass 
the action of the speaker. The lights also should be mov- 
able ; and, if possible, should be so arranged as not to -in- 
terfere with the free action of the arms, even when in the 
horizontal oblique or extended positions. Till our churches 
shall be generally arranged according to some such plan, 
our pulpit orators will have to modify their action to con- 
form to the various situations in which they may be placed, 
and sometimes almost wholly to refrain from gesture ; or else 
become themselves the subjects of unpleasant criticisms, 
which, however, properly belong not to them, but to the 
place in which they officiate. 



292 MANUAL OF ELOCUTION. 



CHAPTER V. 

OF THE ACTION ADAPTED TO DRAMATIC REPRESEN- 
TATION. 



SECTION I. 

OF THE ELEMENTS OF DRAMATIC ACTION. 

Of the vocal expression adapted to the Drama, nothing 
remains to be said. The vocal elements have been so 
fully presented, and so many hints have been given in re- 
gard to their employment for purposes of expression, that it 
is believed nothing but practice on proper examples is re- 
quisite, to give to the learner all the vocal capabilities pos- 
sessed by the most distinguished orators or actors. As 
however this Manual has in view mainly to assist in form- 
ing the orator^ most of the examples given have been 
selected with reference to this. — Even the elements how- 
ever of Dramatic action have not all been presented. This 
section is intended to supply this defect. 

It would not perhaps be entirely easy to point out the 
precise difference between the action suited to oratory, and 
that of the stage. The principle, however, on which this 
difference depends has been before hinted at: the actor 
appears in an assumed character, while the orator appears 
in his own. It is the part of the actor, then, to represent 
and sustain the character which he has assumed ; and this 
may be entirely at variance with the dignity of oratory. 
The actor personates every passion and feeling which makes 
up the human character, — from the nobler passions and 
manners of the hero, down through those of common life, 
even to the vulgarity of the buffoon ; hence the different 



DRAMATIC ACTION. 293 

grades of actors, from the tragedian down to the performer 
of low comedy. He may imitate nature ; while imitative 
action is denied to the orator. He may be affected, he may 
be extravagant, or exhibit the weakness of ungovernable 
emotion ; while, as regards the orator, affectation defeats 
his objects, extravagance disgusts his audience and renders 
him ridiculous, and weakness gives him over to contempt. 

We here find a sufficient reason, why the action of the 
theatre can never be taken as a model for the orator. Yet 
as in the theatre all the qualities of perfect gesture are re- 
quired, the action of the stage may furnish many useful 
hints to the discriminating orator. It has been well said, — 
« He may learn from the theatre energy ', variety and preci- 
sion of action. The simplicity of action he must derive 
from his own unaffected sincerity; -and grace from habit 
and taste. And as to the other qualities^ he must know how 
to use them discreetly, or to retrench them altogether. But 
he must carefully guard against attempting to introduce the 
full license of theatrical action into rhetorical delivery of 
any kind. If he be a mere imitator, and cannot discrimi- 
nate, his gesture will be the subject of just reprehension." 

Dramatic action, as distinguished from oratorical, consists, 
then, primarily, in the exhibitions of other passions, or of 
the same passions in a higher degree of excitement. The 
tendency of this excitement is — to render the muscles rigid, 
to lengthen the step, and to give rapidity to all the move- 
ments of the body. A secondary element of difference may 
now be presented, which is found in the fact, that the actor 
has for his object to please rather than instruct. Hence, if 
he can better accomplish his object thereby, his action may 
take the lead of his sentiment, and become itself as it not 
unfrequently does upon the stage, the chief object of attrac- 
tion. To render it thus, he not only uses all the varied 

25* 



294 MANUAL OF ELOCUTION. 

action allowed to the orator, but uses it more freely than 
oratory allows ; and superadds to this, as we have just 
suggested, other elements of gesture still, by the employ- 
ment of which Boldness and Magnificence of gesture are 
produced, which constitute the chief characteristics of the 
Epic style. The principal of these new elements we shall 
now enumerate. 

The Feet and Lower Limbs. — Under the influence of 
strong excitement, as when one advances with boldness 
or retires in alarm, the positions of the feet before described 
may be exhibited in what may properly be called an ex- 
tended state, which consists simply in a wider separation of 
the feet. The moderate step, which is most graceful in ora- 
tory, in the theatre may often become a stride ; and while the 
orator is limited to the simple movement of advancing and 
retiring, and that by a single step, the actor may traverse 
the whole stage, as he is moved by passion or by the cir- 
cumstances of the scene. — Instead of moving on the stage 
only backwards and forwards, in dramatic action and in all 
dialogue the movement may be lateral. If it is in the 
direction of the free foot, the person is said to traverse, and 
he falls into the same position as when he advances. If 
the movement is in the contrary direction from the free foot, 
he crosses ; — if from the second position, carrying the free 
foot forward of the other, and falling into the first position 
of that foot ; if from the first, carrying it behind the other 
and falling into the second position of the advanced foot. — 
It is by the aid of the lower limbs also, that the actor kneels, 
or starts, or stamps. 

The Trunk. — The erect posture has been presented as 
the only one suited to the dignity of the orator. Indeed the 
manly attitude of the body, which neither inclines nor 
stoops, with the head in an erect and natural position, as 



DRAMATIC ACTION. 295 

exhibited in the painting of Washington by Trumbull,* 
may be presented as the very symbol of dignity. Grief 
depresses the body, and the person under its influence is 
said to be cast down ; while pride may throw the body back 
too far. The expression of the passions however depends 
more upon the head than upon the trunk, which rarely gives 
any expression but in sympathy with the lower limbs, as in 
kneeling or prostration, or with the head, or the arms and 
hands. 

The Head and Eyes. — When the head is hung down, 
it expresses humility ; when turned upwards, arrogance ; 
and when inclined to one side, languor or indifference. Be- 
side these, and, says Quintilian, " beside those motions, 
which by a nod signify assent, or rejection, or approbation; 
there are other motions of the head known and common to 
all, which express modesty, doubt, admiration, and indig- 
nation." These are expressions which oratory has little 
occasion to exhibit : hence a reference to them has been 
reserved for this place. — The positions of the head, which 
have been distinctly designated, and most of which are used 
only in theatrical expression, are as follows : — 

The Head alone. The Head considered with reference 



Inclined. 
Erect. 



to the direction of the Eyes. 
Forward. 



Assenting. Averted. 

Denying. Downward. 

Shaking. Upward. 

Tossing. Around. 

Aside. Vacuity, or Vacancy. 

The Countenance. — " It is of man alone," says Sir 

Charles Bell, " that we can with strict propriety say, the 



* This portrait is in the gallery of paintings belonging to Yale 
College; an engraving of it may be found in the National Portrait 
Gallery, vol. i. 



296 



MANUAL OF ELOCUTION. 



countenance is an index of the mind, having expression 
corresponding with each emotion of the sod. Other ani- 
mals have no expression but that which arises by mere 
accident, the concomitant of the motions necessary to the 
accomplishment of the object of the passions."* The ex- 
pression of pride, of shame, of despair, of anger, of con- 
tempt, of terror, or of any vehemence of passion, finds no 
place in oratory. There is no passion however, or degree 
of excitement, but may be exhibited on the stage. These 
passions find a partial expression in words and in the tones 
of the voice ; but unaccompanied with the appropriate 
expression of the countenance, the symbols of feeling would 
make but a faint impression. 

The Hand. — The positions of the hand have been pre- 
sented to the learner as depending on four circumstances. 
As regards the first — the disposition of the fingers , besides 
the natural state, and the others which were described as 
having an occasional place in oratory, others still may be 
enumerated for purposes of significant expression. 

The hand is said to be Hollow, when the palm is held 
nearly supine, and the fingers turned inwards without touch- 
ing. (See Fig. 51.) 



Fig. 51. 





Fig. 53. 




In the Holding position, the finger and thumb are pressed 
together, either the fore or middle finger, or both ; while 
the other fingers are contracted more or less, according to 
the degree of energy required by the sentiment. (See Figs. 
52, 53, 54, 55.) 



* Jlnatomy of Expression. 



DRAMATIC ACTION. 



297 



Fig. 54. 



Fig. 55. 





The Thumb expresses the position of the hand, in which 
the thumb is extended downward or upward, while the 
fingers are clasped down. (See Figs. 56, 57.) 

Fig. 56. Fig. 57. Fig. 58. 




The Grasping position represents the fingers and thumb 
as seizing the garments, or tearing the hair. (See Fig. 58.) 

As regards the manner in which the palm is presented, no 
new elements need to be introduced. Dramatic action 
employs all the positions of the hand described on p. 243, 
except the natural position, much more frequently than 
they are used in oratory. This position is equally adapted 
to both. 

The positions of the hands which arise from — the com- 
bined disposition of both hands, find little place in oratory ; 
hence they are reserved for consideration here. Among 
these it may be sufficient to enumerate the following. — The 
hands are said to be — 

Applied, when the palms are pressed together, and the 
fingers and thumbs of each are laid against those of the 
other. (See Fig. 59,) 



298 



MANUAL OF ELOCUTION. 
Fig. 59. Fig. 60. 





Clasped, when all the fingers are inserted between each 
other, the hands pressed closelv together, and one thumb 
lapped over the other. (See Figs. 60, 96.) 

Crossed, when one hand is laid on the breast, and the 
other is laid over it crosswise. (See Figs. 61, 85, 94.) 

» Fig. 61. Fig. 62. 





Folded, when the fingers of the right hand, at the 
second joint, are laid between the thumb and forefinger of 
the left, the right thumb crossing the left. (See Fig. 62.) 

Inclosed, when the back of one hand, moderately bended, 
is received within the palm of the other ; the thumbs lying 
at length over each other. (See Fig. 63.) 

Fig. 63. Fig. 64. 



DRAMATIC ACTION. 299 

Touching, when the points of the thumb and fingers of 
each hand are brought lightly into contact. (See Fig. 64.) 

Wringing, when both hands are first clasped together 
and elevated, then depressed and separated at the wrists 
without disengaging the fingers. (See Figs. 65, 93.) 



Fig. 65. 




Enumerating, when the index of the right hand is laid 
successively upon the index and the different fingers of the 
left. (See Fig. 66.) 

The fourth class of positions of the hand arising from 
the part of the body on which it is laid, enumerated on p. 
244, are much more frequently employed on the stage than 
in ordinary delivery. 

The Arm. — Beside the systematic gestures of the arms 
described as belonging to oratory, there are others peculiar 
to dialogue, or to dramatic action. 

The arms are said to be folded or encumbered, when 
they are crossed and enclose each other, the fingers of the 
left hand holding the right arm, and the right hand passing 
under the left arm. (See Fig. 67.) 

They are a-kimbo, when one or both hands rest on the 
hips, and the elbows are stuck out on either or both sides. 
(See Figs. 68, 89.) 

They are reposed, when the elbows are nearly resting on 
the hips, and one hand holds the wrist of the other. This 
is a female position. (See Fig. 69=) 



300 MANUAL OF ELOCUTION. 

Fiff- 67. Fig. 68. Fig. 69. 




The Arm and Hand combined. — To designate the 
manner of the motion of the arm and hand, a variety of 
technical terms have been employed, which scarcely re- 
quire to be explained merely for the purpose of assisting in 
the acquisition of the plain dignity of the orator ; though 
some of them may properly be exhibited in oratory. The 
following, noted by Austin, will suffice, though others 
might be given. — Gesture, then, may be considered as — 

Noting, when the hand, in whatever position, is first 
drawn back and raised, and then advanced and with a 
gentle stroke depressed. (See Fig. 70.) 

Projecting, when the arm is first retracted, and then 
thrust forward in the direction in which the hand points. 
(See Fig. 71.) 

Retracting, when the arm is withdrawn preparatory to 
projecting, as in the dotted hand and arm of Fig. 71, or in 
the right arm of Fig. 75 ; — or in order to avoid an object 
either hateful or horrible, as in Fig. 77. 

Waving, when the fingers are first pointed downward, 



DRAMATIC ACTION. 301 

Fig. 70. Fig. 71. Fig. 73. 




and then, by a smart motion of the elbow and wrist, the 
hand is flung upward in a vertical direction. (See Fig. 72.) 
The flourish, when the hand describes a circular move- 
(See Fig. 73.) 

Fig. 73. Fig. 74. 



ment, above the head. 




The sweep, when the hand makes a curved movement 
descending from the opposite shoulder, and rising with 
velocity to the utmost extent of the arm, or the reverse ; 

28 






302 MANUAL OF ELOCUTION. 



changing its position from supine to vertical in the first 
case, and from vertical to supine in the latter. The sweep 
is sometimes doubled by returning the arm back again 
through the same arch. (See Fig. 74.) 

Beckoning, when with the fore-finger, or the whole hand, 
the palm being turned inward, a motion is made in the 
direction of the breast. 

Repressing, when the fore-finger, or the whole hand, the 
palm being turned outward, makes a motion in opposition 
to the person addressed. This is the reverse of the pre- 
ceding gesture ; and the motions in both these gestures are 
often repeated. 

Advancing, when the hand, being first moved downward 
and backward, in order to obtain greater space for action, 
is then moved regularly forward, and raised as high as the 
horizontal position, a step being at the same time made in 
advance, to aid the action. 

Springing, when the hand having nearly arrived at the 
intended limit of the gesture, flies suddenly up to it by a 
quick motion of the wrist ; like the blade of a pocket-knife 
when it suddenly snaps into its proper situation by the re- 
coil of the spring. 

Striking, when the arm and hand descend with rapidity 
and force, like a stroke arrested by having struck what it 
was aimed against. 

Bending, when the arm is brought into a position prepa- 
ratory to striking. 

Recoiling, when after a stroke, as in the former gesture, 
the arm and hand return back to the position whence they 
proceeded. 

Throwing, when the arm by the force of the gesture is 
flung as it were in the direction of the person ad- 
dressed. 



DRAMATIC ACTION. 303 

Clinching, when the hand is suddenly clinched, and the 
arm raised in a posture of threatening or contempt. 

Collectings when the arm, from an extended posture 
sweeps inward. 

Shaking, when a tremulous motion is made by the arm 
and hand. 

Pressing, when, the hand being already laid on some 
part, the effort of pressing is marked by raising the elbow, 
and contracting the fingers. 

Rejecting, when the hand, in the vertical position is 
pushed towards the object, the head being at the same 
time averted. 

Whoever has observed the general system of action em- 
ployed in the schools for the instruction of the deaf and 
dumb, has some idea of the ancient pantomime, in which 
the action to a great extent was imitative. The elements 
of imitative action embrace all the movements which the 
human body can perform ; and would scarcely be reduci- 
ble to a system. But with these, oratory or dignified tra- 
gedy has nothing to do. Leaving this kind of gesture 
with the actor of, low comedy, we may remark, that the 
Abbe du Bos has drawn the proper distinction between this 
kind of action and that suited to oratory : — " Nothing can 
be more vicious in an orator, than to employ in his decla- 
mation imitative gestures. The action of an orator ought 
to be altogether different from that of a pantomime. An 
orator ought to suit his gesture to the general sentiment 
which he expresses, and not to the particular signification 
of the word which he pronounces." 

Because we have introduced, under the head of Dramatic 
action, several elements of significant gesture, it is not 
hence to be inferred, that all or even a great part of the 



304 MANUAL OF ELOCUTION. 

action of the theatre is of this character. " The significant 
gestures," says Austin, "however numerous and correct, 
which a great actor makes in the representation of an 
entire dramatic character, bear no proportion to the 
greater number of his gestures, which are not significant, 
and which are no less necessary, though not so splendid 
nor imposing. The painter is struck by the boldest and 
finest of the significant gestures which are called attitudes, 
and he records them ; they are the proper objects of his 
art ; they are striking and less evanescent than the other 
gestures, which pass unnoticed by him, although they make 
up by far the greater and more important part of the ges- 
tures requisite for illustrating the sentiments. These less 
prominent gestures give to the declamation its precision and 
force. A slight movement of the head, a look of the eye, 
a turn of the hand, a judicious pause or interruption of 
gesture, or a change of position in the feet, often illuminates 
the meaning of a passage, and sends it full of light and 
warmth into the understanding. And the perfection of 
gesture in a tragedian will be found to consist more in the 
skilful management of the less showy action than in the 
exhibition of the finest attitudes. Attitudes are dangerous 
to hazard ; the whole powers of the man must be wrought 
up to their highest energy, or they become forced and frigid. 
Every one will recollect, that excellent players have been 
seen, who have never ventured an attitude ; but none de- 
serving the name of excellence have ever appeared, whose 
declamation has been deficient in precision or propriety. 
Where all the solid foundation of just and appropriate action 
has been laid, attitude, when regulated with taste and discre- 
tion, may be added to ornament the superstructure ; but in- 
troduced unseasonably or overcharged, it is an evidence of 
deficiency of understanding as well as depravity of taste." 



DRAMATIC ACTION. 305 

SECTION II. 

OF SIGNIFICANT GESTURES AND ATTITUDES.* 

Significant gestures and attitudes, according to the sen- 
timents of the last section, are to be considered but as the 
mere « ornaments" of a system, of which the action suited 
to the orator is the " superstructure." Yet with theatrical 
action, whose chief object is to please, the ornament is very 
important. With oratory, on the contrary, whose principal 
design is to instruct and persuade, the sentiment is the prin- 
cipal thing, and gesture is employed only to enforce that ; 
and this is done by the aid of a class of gestures which 
rarely have any distinct signification when used without 
words. They are not imitative,— they are not, in any pro- 
per sense of the term, conventional, but are produced by 
the promptings of nature, requiring only to be chastened 
and polished by study and art ; while much of the action 
of the stage, especially as it departs from the more digni- 
fied exhibition of tragedy and epic poetry, is imitative and 
artificial. With this additional suggestion as to the distinc- 
tion between dramatic and oratorical action, we proceed to 
some particulars touching the import of the significant ges- 
tures of which we have been treating, when simple, and 
also the mode of combining them for the production of 
rhetorical effect. 

Examples of Simple Significant Gestures. 
The Head and Face. 
The hanging down of the head denotes shame or grief. 
The holding of it up, pride or courage. 
To nod forward implies assent. 

* See Chironomia, chap. xxi. 
26* 



306 MANUAL OF ELOCUTION. 

To toss the head back, dissent. 

The inclination of the head implies bashfulness or languor. 

The head is averted in dislike or horror. 

It leans forward in attention. 

The Eyes. 
The eyes are raised in prayer. 
They weep in sorrow. 
They burn in anger. 
They are downcast or averted in anger. 
They are cast on vacancy in thought. 
They are thrown in different directions in doubt and 
anxiety. 

The Arms. 
The arm is projected forward in authority. 
Both arms are spread extended in admiration. 
They are both held forward in imploring help. 
They both fall suddenly in disappointment. 

The Hands. 
The hand on the head indicates pain or distress. 
On the eyes, shame. 
On the lips, injunction of silence. 

On the breast, it appeals to conscience, or intimates 
strong emotion of some kind. 

The hand waves or flourishes in joy or contempt. 
Both hands are held supine, applied or clasped in prayer. 
Both descend prone in blessing. 
They are clasped or wrung in affliction. 

The Body. 
The body, held erect, indicates steadiness and courage. 
Thrown back, pride. 
Stooping forward, condescension or compassion. 



DRAMATIC ACTION. 307 

Bending, reverence or respect. 

Prostration, the utmost humility or abasement. 

The Lower Limbs. 
Their firm position signifies courage or obstinacy. 
Bended knees, timidity or weakness. 
Frequent change, disturbed thoughts. 
They advance in desire or courage. 
Retire in aversion or fear. 
Start in terror. 

Stamp in authority or anger. 
Kneel in submission and prayer. 

These examples might be multipled ; but the object is 
simply to furnish a sufficient number for illustration, with- 
out attempting to make a complete list. 

Examples of Complex Significant Gestures, or 
Attitudes. 

A few examples of the more complex significant gestures 
will now be presented. The figures referred to will show 
the precise attitude intended ; while the description will 
furnish the principles on which, by the application of a little 
skill, the list can be extended so as to embrace the visible 
expression of any and every passion or feeling, which 
agitates the human breast. 

Terror excites the person who suffers under it, to avoid 
or to escape from the dreaded object. If it be supposed 
to be some dangerous reptile on the ground, and very near, 
the expression will be represented by the figure starting 
back, and looking downward. If the danger threaten from 
a distance, the terror arising will be expressed by the figure 
looking forward, and not starting back, but merely in the 



308 



MANUAL OF ELOCUTION. 



retired position. But if the dread of impending death from 
the hand of an enemy awakens this passion, the coward 
flies. — This passion needs no figure for its illustration. 

Aversion is expressed by two gestures ; first the hand 
held vertical is retracted towards the face, the eyes and 
head are for a moment directed eagerly towards the object, 
and the feet advance. (See Fig. 75.) Then suddenly the 
eyes are withdrawn, the head is averted, the feet retire, and 
the arms are projected out extended against the object, the 
hands vertical. (See Fig. 76.) 



Fig. 75. 



Fig. 76. 



Fig. 77. 




Horror, which is aversion or astonishment mingled with 
terror, is seldom capable of retreating, but remains petrified 
in one attitude, with the eyes riveted on its object, and the 
arm held forward to guard the person, the hands vertical, 
and the whole frame trembling. (See Fig. 77.) The feel- 
ing of Horror may exist when no object is present. This 
is "beautifully illustrated in one of Mr. Engel's figures. 
Alluding to the « disposition of the mind to refer intellec- 
tual ideas to external objects," he says : — « When King 
Lear recollects the barbarous treatment of his daughters, 
who in the midst of a stormy night had exposed his hoary 



DRAMATIC ACTION. 



309 



hairs to the inclemency of the weather, and when he im- 
mediately exclaims, — 

« O, that way madness lies ; let me shun that ; 
No more of that,' — 

there is not in reality any external object from which this 
unhappy prince should avert his eyes with horror, and yet 
he turns his head away to the side opposite that to which 
it was directed before ; endeavoring, as it were, with his 
hand reversed, to banish that cruel and afflicting recollec- 
tion." (See Fig. 78.) 

Fig. 78. Fig. 79. 





Listening, in order to obtain the surest and most various 
information, first presents the quick and comprehensive 
glance of the eye towards the apparent direction of the 
sounds ; if nothing is seen, the ear presents itself towards 
the point of expectation, and the eye is bent on vacancy : 
but all this passes in a moment. The hand and arm are 
held vertical extended. If the sound proceeds from different 
quarters at the same time, both arms are held up, and the 
head alternately changes from one side to the other, with a 
rapidity governed by the nature of the sound ; if it is 
alarming, with trepidation ; if pleasing, with gentle emo- 
tion. Fig. 79 represents listening fear. 



310 



MANUAL OF ELOCUTION. 



Admiration, if of surrounding natural objects of a pleas- 
ing kind, holds both hands vertical and across, and moves 
them outwards to the position, extended as in Figure 80. 
If admiration arises from some extraordinary or unexpected 
circumstances, the hands are thrown up supine elevated, 
together with the countenance and the eyes. 

Fig. 80. Fig. 81. 





Veneration crosses both hands on the breast, casts down 
the eyes slowly, and bows the head. (See Fig. 81.) 

Fig. 82. Fig. 83. 





Deprecation advances in an extended position of the 
feet, approaching to kneeling, clasps the hands forcibly 



DRAMATIC ACTION. 



Oil 



together, throws back the head, sinking it between the 
shoulders, and looks earnestly up to the person implored. 
(See Fig. 82.) 

In appealing to heaven, the right hand is first laid on the 
breast, then the left is projected supine upward ; the eyes 
first directed forward, and then upward. (See Fig. 83.) 

In the appeal to conscience, the right hand is laid on the 
breast, the left drops unmoved, the eyes are fixed upon the 
person addressed. (See Fig. 23.) — Sometimes both hands 
press the breast. 

Shame, in the extreme, sinks on the knee and covers the 
eyes with both hands : this is a feminine expression of it. 
(See Fig. 84.) 

Fig. 84. 




Mild resignation falls on the knee, crosses the arms 
on the breast, and looks forward and upward towards 
heaven. This is also a feminine expression of this feeling. 
(See Fig. 85.) 

Resignation mixed with desperation stands erect and un- 
moved, the head thrown back, the eyes turned upward and 
fixed, the arms crossed. A fine instance is seen in the 
figure from an attitude of Mrs. Siddons. (See Fig. 94.) 



312 MANUAL OF ELOCUTION. 

Fig. 85. Fig. 86. 





Grief arising from sudden and afflicting intelligence 
covers the eyes with one hand, advances forward and 
throws back the other hand. (See Fig. 86.) 

Attention demanding silence holds the finger on the lips, 
and leans forward, sometimes repressing with the left hand. 
(See Fig. 87.) 

Fig. 87. Fig. 88. Fig. 89. 






Distress, when extreme, lays the palm of the hand upon 
the forehead, throws the head and body back, and retires 
with a long and sudden step. (See Fig. 88.) 



DRAMATIC ACTION. 



313 



Deliberation on ordinary subjects holds the chin, and sets 
the arm a-kimbo. (See Fig. 89.) 

Self-sufficiency presents the body erect, the lower limbs 
rigid, and folds the arms. (See Fig. 67.) 

Pride throws back the body, holds the head high, and pre- 
sents the elbow a-kimbo, and thrown forward as in Fig. 68. 

When the thoughts flow without difficulty or opposition, 
the movement of the limbs is free and direct. But when 
difficulties occur or obstacles are discovered, a man either 
arrests his action entirely, or changes it to something alto- 
gether different. The direction of his eyes and the action 
of his head, are also, under such circumstances, quite 
altered. The eyes, instead of moving freely from object 
to object, become fixed, and the head is thrown back, if 
before hanging down on the breast. As an example of 
these effects, M. Engel refers to a scene in a play of Les- 
sing, in which an old gentleman is very much puzzled how 
to manage, under a situation of great difficulty and deli- 
cacy. In the commencement of his deliberations he is 
represented as in Fig. 9.0, and in the next period of them, 
as in Fig. 91. 



Fig. 90. 



Fig. 91. 





27 



314 



MANUAL OF ELOCUTION. 



Melancholy is a feeble and passive affection ; it is at- 
tended by a total relaxation of the nerves, with a mute and 
tranquil resignation, unaccompanied by opposition either to 
the cause or the sensibility of the evil. The character ex- 
ternally is languor without motion ; the head hanging at 
the "side next the heart;" the eyes turned upon its object, 
or, if that is absent, fixed on the ground ; the hands hang- 
ing down by their own weight without effort, and joined 
loosely together. (See Fig. 92.) 



Fig. 92. 



Fig. 93. 





Anxiety is of a different character ; it is restless and ac- 
tive, and manifest by the extension of the muscles ; the eye 
is filled with fire, the breathing is quick, the motion is hur- 
ried, the head is thrown back, and the whole body is 
extended. The sufferer is like a sick man who tosses in- 
cessantly, and finds himself uneasy in every situation. (See 
Fig. 93.) 

I shall close this part of the subject and the work, by 
presenting the learner with some of the attitudes of Mrs. 
Siddons, copied from the plates of the Chironomia, from 
which all the illustrations of this section have been taken. 



DRAMATIC ACTION. 



315 



These present both boldness and magnificence — qualities 
of gesture which, as we have elsewhere remarked, are 
rarely exhibited but in the theatre. They belong to the 
Epic style of gesture ; and the passages are given, in the 
pronunciation of which they were employed. 

Fig. 94. Fig. 95. 





See Fig. 94. " See where she stands like Helen." 

Fair Penitent, act 5, sc. 1. 

See Fig. 95. "This arm shall vindicate a father's cause." 

Grecian Daughter, act 1, sc. last. 



316 MANUAL OF ELOCUTION. 

Fig. 98. Fig. 95 




See Fig. 96. "A widow cries, Be husband to me, heaven." 

King John, act 3, sc. 1. 

See Fig. 97. " Scorned by the women, pitied by the men, 
" Oh ! insupportable !" 

Fair Penitent, act 2, sc. 1. 

See Fig. 98. "Wert thou the son of Jupiter." 

Imogen, act 2, sc. 3. 

See Fig. 99. "Jehovah's arm snatched from the waves and 
brings to me my son." 

Douglas, act 3, sc. 2. 

See Fig. 100. "Pity and forgiveness." 

Venice Preserved, act 5, sc. 1. 



INDEX. 



Abhorkexce, vocal expression of, 149. 
Accent, discussed, 98 — 100. 
denned, 98. 
three forms of, 99. 
Adjuration, vocal expression of, 138. 
Admiration, vocal expression of, 156. 

how expressed by action and attitude, 306, 310. 
self — vocal expression of, 138. 
Admonition, serious — vocal expression of, 129. 
Adoration, vocal expression of, 128. 
Affirmation, strong — vocal expression of, 138. 
Alphabet, English — imperfect, 31. 
Alternate Phrase, denned, 87. 

Melody of — explained, 89. 
Partial Drift of, 124. 
Amazement, vocal expression of, 156. . 
Anger, vocal expression of, 146. 

Anxiety, how expressed by action and attitude, 306, 314. 
Apathy, vocal expression of, 167. 
Apprehension, vocal expression of, 163. 
Argument, eager — vocal expression of, 133. 
warm — vocal expression of, 138. 
Arm, employed in oratory, 246 — 256, 261. 

employed in dramatic action, 299 — 303, 306. 
systematic positions of, 249 — 254. 
gestures of — considered as bold and moderate, 252, 253. 
errors in the positions of, 254, 255. 
Arm and Hand, manner of their motion illustrated, 200 — 203. 
Articulation, importance of a good, 38. 
examples of bad, 38, 39. 
tables for practice in, 40 — 47, 50 — 54. 

27* 317 



318 INDEX. 

Aspirate elements, table of, 34. 

how they should be uttered, 37. 
Aspiration, a quality of the voice — defined and illustrated, 83 
Emphasis of, 114. 
Partial Drift of, 124. 
Assent, how expressed by action, 305. 
Astonishment, vocal expression of, 156. 
Atonic elements, table of, 34. 

why so called, 36. 

table of, combined with the long vowels, 52. 
Attention, how expressed by action and attitude, 306, 312. 
Attitudes, rarely to be employed in the pulpit, 285, 288. 
condemned by Cicero even at the bar, 288. 
not essential to the actor, 304. 
figures illustrating, 307—315. 
Authority, simple — vocal expression of, 138. 

how expressed by action, 306, 307. 
vaunting — vocal expression of, 138. 
Aversion, vocal expression of, 149. 

how expressed by gesture and attitude, 307, 308. 
Awe, vocal expression of, 157. 

Bashftteness, how expressed by action, 306. 
Boldness of gesture, defined, 270. 
Bow, elements of a graceful, 259. 
Breast, hand on — significant, 244, 306. 

rule for placing, 244. 

errors in placing, 245, 246. 
Broken Melody, phrase explained, 89. 

Cadence, triad of — explained, 87. 

Melody of — explained, 89. 

subject of — discussed, 184 — 193. 

Prepared, 187, 189. 

faults in regard to, 189. 

different forms of— illustrated, 190—192. 
Caution, vocal expression of, 167. 
Certainty, vocal expression of, 138. 
Cesural Pause, defined, 206. 



INDEX. 319 

Chagrin, vocal expression of, 153. 

Chin, hand on — expressive, 244, 313. 

Chromatic Melody, depends on the Semi-tone, 60, 89. 

Cicero, studied Elocution, 20. 

Colloquial style of Gesture, denned, 272. 

uses of, 272. 
Command, vocal expression of, 138. 
Commiseration, vocal expression of, 157. 
Compass of voice, denned, 57. 

exercises on — suggested, 58. 
Compassion, vocal expression of, 157. 

how expressed by action, 306. 
Complaint, vocal expression of, 157. 
Compound Emphasis, denned and illustrated, 105. 

Stress, denned, 56. 
Concrete Changes of Pitch, defined and illustrated, 58. 

Interval, defined, 59. 
Condolence, vocal expression of, 157. 
Confidence, vocal expression of, 138. 
Consonant Elements, table of, 34. 

sounds, combinations of — arranged in a table, 40 — 43. 
Contempt, vocal expression of, 153. 
Continued wave, defined, 71. 
Contrition, vocal expression of, 157. 
Countenance, expression of — employed in oratory, 236 — 241. 

employed in dramatic action, 295, 296. 
Courage, expression of — by action and attitude, 305, 306, 307. 
Cross Gesture of the arm, not to be often used, 255. 

a bad concluding gesture, 280. 
Curiosity, vocal expression of, 163. 

Defective Measure of Speech, defined, 196. 
Defiance, vocal expression of, 138. 
Deliberation, vocal expression of, 129. 
Delight, vocal expression of, 155. 
Demosthenes, studied Elocution, 20. 
Denunciation, vocal expression of, 138. 
Denying, vocal expression of, 138. 
Deprecation, how expressed by action, 310. 



320 INDEX. 

Derision, vocal expression of, 154. 
Description, simple — vocal expression of, 128. 
earnest — vocal expression of, 133. 
Despair, vocal expression of, 138. 
Diatonic or Natural Scale, defined, 57, 91. 

Melody, depends on the Interval and the Slide of a Second, 

60, 86, 88. 
Slides, rules for the employment of, 63 — 66. 
Drift, defined, 123. 
Dignity, vocal expression of, 128. 
Direct Question, defined, 68. 

not always determined by the form, 69, 70. 
if very long, takes only the Partial Intonation, 70. 
Wave, defined, 71. 
Disappointment, how expressed by gesture, 306. 
Discontent, vocal expression of, 153. 
Discrete Changes of Pitch, defined, 58. 

Interval, defined, 58. 
Disgust, vocal expression of, 149. 
Dislike, how expressed by action, 306. 
Dissatisfaction, vocal expression of, 153. 
Dissent, how expressed by action, 306. 
Distress, (see Pain.) 

Ditone, Rising and Falling — explained, 87. 
Double Wave, defined, 71. 

Equal — Emphasis of, 111. 
Unequal — Emphasis of, 112. 
Doubt, vocal expression of, 167. 

how expressed by action, 306. 
Downward Interval, explanation of, 59 — 61. 
Emphasis of, 108, 109. 
Slides, defined, 59. 

Drift of, defined, 124. 
Dramatic action, elements of, 292 — 303, 

how it differs from oratorical action, 292—294, 305. 
gestures and attitudes illustrating, 305 315. 
Drawling, defined, 91. 
Drifts of the Voice, 122—126. 

Partial, 124. 
Drowsiness, vocal expression of, 167. 



INDEX. 3*1 

Eagerxess, vocal expression of, 163. 

Eighth, (see Octave.) 

Elementary sounds of the English Language, 31 — 37. 

Elocution, importance of a good, 15. 

considered as a science and as an art, 18. 
includes both Voice and Gesture, 18, 25. 
the study of— what it can do for the learner, 23. 

neglected, 215—218. 
adapted to the pulpit, 281—291. 
Eloquence, written and oral, 18. 

written, dependent on the oral, 223, 224. 
Emphasis, discussed, 100 — 122. 
uses of, 10 L 
denned, 101. 
modes of giving, 102. 
elements of— often combined, 115. 
may extend to clauses, 116. 
Absolute — denned, 116. 
Relative— denned, 116. 

illustrated, 117—122. 
cautions in the employment of, 116. 
Emphatic Pause, denned, 204. 

Slides, embrace all but that of the Second, 66. 
Stroke of Gesture, denned and explained, 266, 267. 
Energy, vocal expression of, 144. 

of Gesture, denned, 270. 
English Language, well adapted to eloquence, 16. 
elementary sounds of, 31 — 37. 
Envy, vocal expression of, 149. 
Epic Style of Gesture, denned, 271. 

principally employed in the theatre, 271. 
Equal Waves, defined, 71. 

illustrated, 72, 73. 
Emphasis of, 110, 111. 
Execration, vocal expression of, 154. 
Explosive power of the Vowel elements, 79. 

exercises for practice on, 79, 80. 
Expression of the Passions, advantage of studying, viii. 
illustrated, 126—168. 



322 INDEX. 

Exultation, vocal expression of, 155. 
Eyes, hand on — expressive, 244. 

significant expressions of, 306. 
Eyes and Countenance, employed in oratory, 236 — 241, 261. 

employed in dramatic action, 295, 296. 

errors relating to, 239, 240. 

Facetiousness, vocal expression of, 133. 

Falsette, a quality of the voice — defined and illustrated, 85. 

Partial Drift of, 124. 
Fatigue, vocal expression of, 167. 
Fear, vocal expression of, 163. 

how expressed by action and attitude, 307, 309. 
Feet and Lower Limbs, employed in oratorical action, 226 — 233. 
employed in dramatic action, 294, 307. 
positions of, 226—228, 294. 

errors in, 229, 230. 
changes in position of, 230—232, 260, 294. 
errors in, 232, 233. 
Fifth, Interval of— defined, 57. 

Slide of, — defined and explained, 59, 60. 
Equal Wave of — illustrated, 73. 

Emphasis of, 110, 117. 
Rising — Emphasis of, 106. 
Falling — Emphasis of, 108. 
Final Pause— defined, 206. 

not to be observed on the stage, 206, 207. 
Finger on the lips, expressive, 244. 
Fingers, natural state of, 241, 242. 

other modes of disposing, 242, 296, 297. 
Flight of the Voice, defined and illustrated, 212. 
Fondness, vocal expression of, 157. 
Forbidding, vocal expression of, 138. 
Force of Voice, discussed, 75 — 81, 94. 
importance of, 76. 
may be increased by practice, 76. 
rules for practice, 77 — 79. 

degree of — to be employed at the opening of a dis- 
course, 94. 



INDEX. . 323 

Force of Voice — Emphasis of, 113. 

Drift of, 124. 
Forcible Accent, defined and illustrated, 99, 100. 
Forehead of the orator, should be uncovered, 240. 
hand on, expressive, 244. 

Garrick, used little gesture, 274. 
Gayety, vocal expression of, 133. 
Gesture, a branch of Elocution, 18, 25. 

denned, 221. 

natural, 26, 221. 

two stages of — Involuntary and Voluntary, 222, 223. 

of instruction in, 223. 

uses of, in speaking, 223. 

essential to the expression of feeling, 224. 

divided into Oratorical and Dramatic, 225. 

elements of oratorical, 224 — 256. 

elements of dramatic, 292 — 305. 

must have feeling for its basis, viii. 257, 276. 

considered as Principal and Subordinate, 264. 

the accompaniments of, 265. 

considered as Preparatory and Terminating, 265. 

Emphatic Stroke and time of, 266. 

considered as significant and not significant, 267, 268. 

relative importance of these, discussed, 303, 304. 

Transition of, 268. 

Qualities of, 269—271. 

to accord with the character of the speaker, 274. 
the character of the audience, 274. 
the objects of the address, 274. 

as connected with the different parts of a discourse, 277—280, 

examples of Significant, 307 — 315. 
Grace of Gesture, defined, 270. 

not inconsistent with feeling, 257. 
Grammatical Pause, defined, 203. 
Gravity, vocal expression of, 128. 
Grief, vocal expression of, 157. 

how expressed by action and attitude, 305, 312. 
Grouping of Speech, defined and illustrated, 212=215. 



324 INDEX. 

Guttural Voice, illustrated, 84. 
uses of, 84. 
Partial Drift of, 124. 
Emphasis, 115. 

Hand, employed in oratory, 241 — 246, 261. 

employed in dramatic action, 296 — 299, 306. 
errors in the position of, 245, 246. 
should move in curved lines, 247 — 249. 
Right — should be principally used in gesture, 262, 263. 
Left— when to be used, 263, 264. 
Hands, both — examples of their combined disposition, 297 — 299. 

combined action of, rarely required in oratory, 245, 297. 
. may be employed at the same time, 264. 
Hate, vocal expression of, 149. 
Head, Significant Gestures of, 305. 

and Trunk, employed in oratorical action, 233 — 236. 
employed in dramatic action, 294, 295. 
errors in the position of, 234 — 236, 260, 261. 
Hope, vocal expression of, 163. 
Horror, vocal expression of, 164. 

how expressed by action and attitude, 306, 308, 309. 
Humility, vocal expression of, 167. 

how expressed by action, 307. 

Ill-Humor, vocal expression of, 153. 
Imperfect Measure of Speech, defined, 196, 
Indignation, vocal expression of, 149. 
Indirect Question, defined, 68. 
Instruction, vocal expression suited to, 138. 
Interrogation, intonation of, 67—70. 

expressive — elements of, 164 — 167. 
Intervals, defined, 57. 

Proximate and Remote, defined, 57, 91. 

Rising and Falling, explained, 59 — 61. 

Emphasis of, 105—109. 
Introductory movements of the speaker, 258, 259. 
Inverted Wave, defined, 71. 

Emphasis of, III. 
Irresolution, vocal expression of, 167. - ... 






INDEX. 82 

Jealousy, vocal expression of, 149. 
Joy, vocal expression of, 155. 

how expressed by action, 306. 

Key-note, denned, 57. 

Lamentation, vocal expression of, 157. 
Languor, vocal expression of, 167. 

how expressed by action, 306. 
Lips, hand or finger on — expressive, 244, 306. 
Listening, how expressed by attitude, 309. 
Loud Concrete Stress, defined, 56. 
Love, vocal expression of, 157. 
Lower Limbs. (See Feet and Lower Limbs.) 

Magnificence of Gesture, defined, 269. 
Malice, vocal expression of, 149. 
Measure of Speech, discussed, 193 — 202. 
Mechanical Variety, explained and illustrated, 88, 95. 
Median Stress, defined and illustrated, 50, 55. 
exercises on — suggested, 55. 
Drift of— defined, 123. 
Emphasis, illustrated, 104. 

kind of gesture suited to, 266. 
Melancholy, attitude illustrating, 314. 
Melodies of the voice, 85 — 90. 
Mercy, vocal expression of, 157. 
Mirth, vocal expression of, 154. 
Mirthful Wonder, vocal expression of, 156. 
Mockery, vocal expression of, 154. 
Modesty, vocal expression of, 167. 
Monotone, Phrase of, defined, 87. 
Melody of— defined, 88. 
Partial Drift of, 124. 
Mouth, expression of — requires attention, 238, 239, 241. 
Mouthing, defined, 37. 

Muscles, abdominal and intercostal — to be chiefly used in speak 
ing, 79. 

28 



32f INDEX. 

Musical Pause, defined, 206. 

Mutes, one class of the Atonic elements, 34. 

Mystery, vocal expression of, 163. 

Narrative, plain — vocal expression of, 128. 
Natural or Diatonic Scale, defined, 57. 
Voice, defined, 85, 94. 

Drift of, defined, 125. 
Note, defined, 57, 91. 



Octave, Interval of — defined, 57. 

Slide of— defined and explained, 59, 60. 
Equal Wave of — illustrated, 73. 
Rising — Emphasis of, 107. 
Falling— Emphasis of, 109. 
Orator, requisites to the perfect, 97. 

action of— different from that of the actor, 292—294, 305. 
Imitative action not allowed, 303, 305. 
Orotund Voice, qualities of, 82. 

how acquired, 83. 
Drift of, 124. 

Paiw, vocal expression of, 162. 

how expressed by action, 306, 312. 
Palm, modes of presenting — in gesture, 243. 

Natural State of, 243. 
Paragraphic Pause, defined, 205. 

practical uses of, 205. 
Partial Drifts of the Voice, 124. 

Interrogative Intonation, defined and illustrated, 68, 69. 
Passions, vocal expression of — illustrated, 126 — 168. 
Pauses in Speech, 203—207. 
Peevishness, vocal expression of, 153. 
Penitence, vocal expression of, 157. 
Perfect Measure of Speech, defined, 196. 
Petition, vocal expression of, 157. 
Petulance, vocal expression of, 153. 
Phrases of Melody, explained and illustrated, 87, 95. 
Partial Drifts of 124, 






INDEX. 327 

Pitch of the voice, discussed, 57 — 71, 91. 

adapted to the commencement of discourses, 91. 

Emphasis of, defined and illustrated, 105 — 109. 

Drift of, defined, 123. 
Pitt studied Elocution, 21. 
Pity, vocal expression of, 157. 
Plaintive expression, elements of, 157. 
Poetry, rules for the reading of, 207 — 211. 

the Temporal Accent should be employed in reading, 100, 208. 
Positiveness, vocal expression of, 138. 

combined with plaintiveness — vocal expression of, 158. 
Prayer, vocal expression suited to, 128, 157, 288. 

action and attitude suited to, 287, 306, 307. 
Precept, vocal expression suited to, 138. 
Precision of Gesture, defined, 271. 

Pride, how expressed by action and attitude, 305, 306, 313. 
Propriety of Gesture, defined, 271. 
Pulpit, Elocution adapted to the, 281 — 291. 

considered as a field for oratory, 17, 282. 

rules for the action employed in, 284 — 291. 

Orator — self-command essential to, 290, 291. 
Pulpits, proper structure of, 291. 

Quality, of the voice, 81 — 85. 

Emphasis of, 113 — 115. 

Drift of, 124. 

Partial Drift of, 124. 
Qualities of Gesture, 269—271. 
Quantity, discussed, 48, 50, 91. 

Emphasis of— defined and illustrated, 102, 103. 

Drift of, 123. 

R, when vibrant, 36. 

vibrant — one of the elements of expression, 144. 
Radical Stress, defined and illustrated, 50 — 55. 
tables for exercise on, 51 — 55. 
Drift of, defined, 123. 
Accent, defined and illustrated, 99, 100. 
Emphasis, defined and illustrated, 103. 
kind of gesture suited to, 266. 






328 INDEX. 

Rage, vocal expression of, 146. 

Raillery, vocal expression of, 154. 

Ranting, denned, 94. 

Rapture, vocal expression of, 155. 

Reading, involves many of the principles of Elocution, ix. 25. 

how far it admits of action, 262, 272. 
Rebuke, vocal expression of; 128, 146, 149. 
Refusing, vocal expression of, 138. 
Relative Emphasis, denned, 116. 

rules for, with illustrations, 117 — 122. 
Repining, vocal expression of, 153. 
Reprehension or Reproving, vocal expression of, 138, 
Reproach, vocal expression of, 129. 
Resignation, vocal expression of, 138, 
Respect, vocal expression of, 128. 
Revenge, vocal expression of, 149. 
Reverence, vocal expression of, 128. 
Rhetorical Pause, defined, 204. 

Style of Gesture, defined, 271. 

this the style of oratory, 271. 
Rhythmic Pause, defined, 203. 
Rhythmus. (See Measure of Speech.) 
Rising Intervals, explanation of, 59 — 61. 

Emphasis of — illustrated, 105 — 107. 
Slides, defined, 59, 60. 

Partial Drift of, 124. 

Scoffing, vocal expression of, 154. 
Scorn, vocal expression of, 153. 
Second, Interval of — defined, 57. 
Slide of — how used, 60. 
Wave of — illustrated, 72. 

Emphasis of, 110. 
Drift of, 124. 
Secrecy, vocal expression of, 163. 
Self-sufficiency, attitude of, 313. 
Semitone, defined, 57. 

Slide of— its uses, 60. 

exercises on, suggested, 60. 



INDEX. 



329 



Semitone — "Wlave of, 72. 

Emphasis of, 110. 
Drift of, 124. 
Drift of, 123. 
Sentential Pause, defined, 203. 
Shame, vocal expression of, 167. 

how expressed by action and attitude, 305, 306, 311. 
Sheridan studied elocution, 21. 

Siddons, Mrs. — illustrations of her attitudes, 314, 315. 
Significant Gestures, defined, 267. 

Simple — examples of, 305 — 307. 
Complex — examples of, 307 — 315. 
Simplicity of Gesture, defined, 270. 
Single Wave, defined, 71. 

Unequal — Emphasis of, 111. 
Slides of the Voice, defined and illustrated, 59, 60, 92. 
exercises for practice on, 60 — 62. 
Sneer, vocal expression of, 153. 
Solemnity, vocal expression of, 128. 
Song, how it differs from speech, 58. 
Sorrow, vocal expression of, 157. 
expressed by the eye, 306. 
Speech, how it differs from Song, 58. 
Stress, defined and explained, 50 — 57, 91. 
Styles of Gesture, 271, 272. 
Submission, vocal expression of, 157. 
Suffering, mental or bodily — vocal expression of, 162. 
Supplication, vocal expression of, 157. 
Surprise, simple — vocal expression of, 156. 

combined with plaintiveness — vocal expression of, 158. 
Suspicion, vocal expression of, 163. 
Syllables, considered as Immutable, Mutable, and Indefinite, 49. 



Tables for vocal exercise, 33, 34, 40 — 43, 52 — 54. 

Teacher, suggestions to, 33, 52, 103, 129, 190, 197, 231, 254, 259. 

Temporal Accent, defined and illustrated, 99, 100. 

best suited to the reading of poetry, 100. 
Emphasis, defined and illustrated, 102, 103. 
kind of gesture suited to, 266. 
28* 



330 I N D E X. 

Temporal Drift, defined, 123. 
Tenderness, vocal expression of, 157. 
Terror, vocal expression of, 164. 

how expressed by action and attitude, 307. 
Third, Interval of— defined, 57. 

Slide of— defined and illustrated, 59, 60. 
Equal Wave of— illustrated, 73. 

Emphasis of, 110. 
Rising — Emphasis of, 106, 107. 
Falling— Emphasis of, 108, 109. 
Thorough Interrogative Intonation, defined and illustrated, 68. 
Thought, deep, or deliberation, expressed by action and attitude, 
306, 313. 

disturbed, expressed by action, 307. 
Time of the Voice. (See Quantity.) 
Tone, defined, 57, 91. 
Tonic consonants, table of, 34, 

combined with the long vowels, 52. 
Tranquillity, vocal expression of, 167. 
Transition, in vocal expression, 168, 169. 

illustrated by examples, 169 — 184. 
of gesture, 268. 
Tremor, defined and explained, 83. 
Emphasis of, 114. 
Partial Drift of, 124. 
Tritone, Rising and Falling, explained, 87. 
Triumph, vocal expression of, 155. 

Trunk or body, performs a part in the action of the speaker, 233 — 
236, 294, 295. 

Significant attitudes of, 306, 307. 

Unequal Wave, defined, 71. 

Emphasis of, 111, 112. 

Vanishing Stress, defined and illustrated, 50 — 56. 
exercises on — suggested, 56. 
often misused, 91. 
Drift of— defined, 123. 
Emphasis, defined and illustrated, 104. 
kind of gesture suited to, 266. 



INDEX. 



331 



Variety of Gesture, defined, 270. 

Mechanical, as applicable to the Voice — defined, 88, 95. 
Veneration, vocal expression of, 128. 

how expressed by attitude, 310. 
Vexation, vocal expression of, 153. 
Vocula or Vocule, defined, 35. 

used for emphasis, 90. 
caution required in use of, 90, 287, 
Emphasis of, 113, 145. 
Voice, susceptible of improvement, 20. 

tables with directions for training, 33, 34, 40 — 47, 52— 63 3 
79, 80. 
Vowel elements, table of, 33. 

diphthongal character of, 35. 

Long — table of, combined with the Tonic conso- 
nants, 53. 

combined with the Atonies, 54. 
Short — table of, combined with the Tonic conso- 
nants, 54. 

Waves of the Voice, 71—75, 92. 

considered as Equal and Unequal, 71. 

Single, Double, or Continued, 71. 
Direct and Inverted, 71. 

exercises on, suggested, 73, 74. 

should be used with caution, 93. 

Emphasis of, 109-^112. 
Weakness, vocal expression of, 167. 

Weeping, not often to be indulged in by the orator, 240, 291. 
Whining, defined, 92. 
Whisper, a quality of voice, 85. 
Wonder, mirthful — vocal expression of, 116. 
Wrath, vocal expression of, 146. 



Z, remarks on the sound of, 36. 

THE END. 



RECOMMENDATIONS. 



From the Hon. President of the Board of Regents of the Uni- 
versity of Michigan. 

I have examined, with some care, a manuscript Grammar of 
the English Language, written by the Rev. Mr. Frazee, of which, 
as a school book, I have formed a highly favorable opinion. 
The simplicity of his general arrangement, the clearness and dis- 
tinctness of his definitions in the more elementary portions of the 
work, the pains taken thoughout to cause the learner to educe for 
himself and apply the general principles, together with his 
copious notes and numerous illustrations, make it, in my opinion, 
preferable to any other work of the kind already extant, 

Z. PITCHER, M. D., 
Prest. of Board of Education, Detroit. 
Detroit, August 1, 1843. 

I fully concur in the above recommendation. 

JOHN S. ABBOTT, 
Secretary of Board of Education. 
Detroit, Oct. 10th, 1843. 

I concur in the above recommendation. 

L. SCOTT, A. M., 
Pastor of the M. E. U. Church, Philadelphia. 
Philadelphia, Dec. 22d, 1843. 

The undersigned, members of the Committee on School Books 
of the Board of Education of the City of Detroit, have examined, 
with considerable care, the manuscript of a system of English 
Grammar, prepared by the Rev. Bradford Frazee, of the State of 
Michigan, and which, he proposes to publish, and take much 
pleasure in furnishing to the author an expression of their appro- 
val of a work upon which he has evidently expended much labor 
and research. The Grammar in question is, in many respects, 
an improvement upon any work of the kind yet published for the 
use of schools, and developes a system of teaching English Gram- 

(1) 



(«) 

mar far preferable to any that has come under our observation* 
In the choice of a Grammar for the use of the schools under the 
direction of our Board, we shall, whenever Mr. Frazee's Gram- 
mar is published, give it a preference over any other now in use, 
and have no doubt it will be adopted by the Board as the book 
above all others, best fitted for the use of onr schools. 

JOHN S. ABBOTT, 
SAMUEL BABSTOW. 

From Hon. H. Chipman, late Judge of Criminal Court, Detroit. 

I have examined the system of English Grammar, by the Rev. 
Bradford Frazee, and am induced to think very favorably of it. 
' Mr. Frazee appears to have bestowed much industry and research 
in the composition of his work, and shows a critical knowledge 
of the first principles of language ; at the same time, his method 
and illustrations are so simple and perspicuous, as to lead the 
learner on, step by step, not only to learn the absolute rules, but 
almost insensibly to understand the principles upon which the 
rules are founded. The plan is synthetical and inductive, so 
arranged and explained that youthful capacities can clearly com- 
prehend it, while the maturer mind may find in it much instruc- 
tion in what may properly be called the philosophy of language. 
I conceive that this work might very advantageously be intro- 
duced, as an elementary book, into the public schools. 

HENRY CHIPMAN. 

Detroit, August 1, 1843. 

In a notice of this Grammar, " The North American" says, 
" The perusal of a few pages has impressed us very favorably 
regarding the plan and execution of it. The definitions are pre- 
cise and clear, and the explanations level to any capacity." 

Philadelphia, January 11th, 1844. 

" The Saturday Courier," in a notice of this work, remarks 
that, " The author appears to be thoroughly conversant with his 
subject, and imparts his knowledge with remarkable freedom and 
perspicuity. The matter is peculiarly adapted to the unpractised 
mind of the learner, and its lucid, practical philosophy is evident 
at every page." 

Philadelphia, Jan. 13th, 1844. 

The following from Rev. Mr. Filmore, will receive much credit 
where he is known. 

" Having examined the system of English Grammar by Rev. 
Mr. Frazee, I am induced to think of it very highly. The clear* 



(ill) 

aess of the definitions, in its more elementary parts, and the 
perspicuity of its whole arrangement, on the true Pestalozzian 
system, render it, in my opinion, the best work extant for instruc- 
tion in this science. 

"A. N. FILMORE. 
" Buffalo, April 22d, 1844." 



" Having examined, with some care, a System of English Gram- 
mar, prepared by Rev. Bradford Frazee, we are led to believe 
that it is an improvement upon the grammars now in use ; in the 
philosophy of the arrangement — the correctness of the definitions 
— the clearness of the illustrations, by the introduction of appro- 
priate examples and exercises, at every step of the pupil's pro- 
gress, and in the Inductive Method in which the principles of the 
science are taught ; giving the reasons of the Rules of Syntax, so 
that the pupil is led on in an easy, natural manner, to a thorough 
knowledge of the analysis of the language. 

"AMBROSE S. TODD, J. W. ALVORD, 

GEO. BROWN, WM. T. BAKER. 

CHAUNCY AYRES, M. D., NATH'L E. ADAMS, 
ALEX. N. HOLLY, WM. T. MINOR, 

''Board of Visitors. 
« Stamford, Conn., June 29th, 1844." 

"I fully concur in the above opinion of Rev. Mr. Frazee's 
Grammar, and would further say, it has been adopted in this 
Institution. 

« C. MARCELLUS DOW. 
" Principal of Stamford Institute. 
"Stamford, Conn., June 29th, 1844." 

"The views expressed in the above recommendation of Mr. 
Frazee's Grammar are substantially my own ; and I can cheer- 
fully say that, in my opinion, it contains some valuable improve- 
ments found in no other that I have seen. 

"JAMES H. COFFIN, 
" Principal of Norwalk Academy. 
" Norwalk, Conn., July 5th, 1844." 

" We have examined Mr. Frazee's Grammar, and fully concur 
in the opinion expressed above by the Stamford Board of Visitors. 
"ELBRIDGE PURINGTON, BENJ. R. DAVIS, 
JOHN B. STARR, S. W. CHAMBERLAIN, 



July 5th, 1844. 



" Teachers in Norwalk, Conn. 



(iv) 

" After examination of a Grammar of the English Language by 
Rev. Bradford Frazee, we, the undersigned, take pleasure in ex- 
pressing our approbation of his arrangement and general princi- 
ples ; and conceiving that he has supplied an important desidera- 
tum in instruction in that department of education, we do resolve, 
as members of the Board of Visitors of the Stratfield School So- 
ciety, (Bridgeport, Conn.,) agreeable to the provisions of the law 
on Commom Schools, to adopt the said Grammar in the schools 
of the above Society. 

"SAML. BEACH, J. LEONARD GILDER, 
J. H. HUNTER, HENRY OLMSTEAD, 

W. R. BUNNELL, Board of Visitors. 

"Bridgeport, Conn., July 12th, 1844." 



" Philadelphia, August l±th, 1844. 

« Gent : — I have carefully examined the Rev. Mr. Frazee's Sys- 
tem of English Grammar, recently published by you, and am of 
the opinion that, in many respects, a decided improvement has 
been made upon the grammars in use ; especially in its philoso- 
phical arrangement, the correctness and perspicuity of the defini- 
tions and rules, its general simplicity, the minute and thorough 
illustration of the subject, in the copiousness of the rules of 
syntax, and, most of all, in the really inductive method of instruc- 
tion. The system of elementary composition, which is combined 
with the elements of the science, is, I think, an improvement upon 
any plan I have seen on this subject. Upon the whole, I con- 
sider the work the best adapted for use in our Common Schools 
of any system of grammar with which I am acquainted. 

" Respectfully, 

«W. W. WOOD, 
" Principal of the S. W. Grammar School. 

" Messrs. Sokin & Bale." 



" We concur in the above recommendations. 

« WM. ROBERTS, 
" Principal of the Moyamensing Grammar School." 

"SAMUEL F. WATSON, 
" Principal of the Catharine street Male Grammar SchooL 
« Philadelphia, August \Uh, 1844." 



(V) 

Additional names, subscribed to the recommendation of J. 0. 
Taylor, and others on the cover. 



"VVm. Kennedy, Principal of 
17th Ward Gram. School. 

Abm. K. Van Vleck, Principal 
of Pub. Gram. School, No. 16. 

S. Durand, Principal of 5th 
Ward Gram. School. 

Jno. W. Ketchum, Principal 
of Pub. Gram. School, No. 7. 

John H. Fanning, Principal 
of Pub. Gram. School, No. 13. 

Rich'd S. Jacobson, Principal 
of Pub. Gram. School, No. 1. 

A. Newman, Prin. of Classi- 
cal and Conical Inst. Broadway. 

H. B. Styker, Principal of Fe- 
male Acad., N. Brunswick, N. J. 

Wm. M. Hough, Principal of 
Trenton High School, N. J. 

P. A. Cregar, Principal of S. 
E. Gram. School, Phil ad' a. 

B. E. Chamberlin,Prin. of But- 
tonwood st. Gram. School, Phila. 

J. M. Bird, Prin. of Lombard 
st. Gram. School, Philad'a. 

J. Rhoads, M. D., Principal of 
Palmer st. Gram School, Phila. 

W. H. Pile, Principal of N. 
E. Gram. School, Philad'a. 

W. M. Rice, Prin. of Classi- 
cal School, Cherry st., Philad'a. 

Andrew Crozier, Principal of 
Reid st. Gram. School, Philad'a. 

L. Rhoads and S. Nourse, 
Teachers in Lancaster Gram. 
School, Pa. 



E. H. Jenny, A. M., Principal 
of New York Institute. 

John M. Reid, late Prin. of 
Mechanic's Inst. Gram. School. 

Chas. S. Pell, Principal of 
Pub. Gram. School, No. 8. 

N. W. Starr, Principal of 
Pub. Gram. School, No. 10. 

M. C. Tracy, Principal of 
Mechanic's Inst. Gram. School. 

M. N. Olmsted, Principal of 
Willet st. Academy. 

Wm. Miller, Principal of a 
Select School, Allen st. 

B. Fowler, Principal of a Se- 
lect School, Bedford st. 

C. L. Hungerford, A. M., late 
Prin. of Kingston Acad., N. Y. 

Chas. S. Stone, Principal of 
Carlisle High School, Pa. 

A. T. W. Wright, M. D., Prin. 
of Model Gram. School, Phila. 

N. H. McGuire, Principal of 
Coates st. Gram. School, Phila. 

Jas. M. Clune, Principal of 
Master st. Gram. School, Phila. 

J. M. Colemen, Prin of N. 
Market st. Gram. School, Phila. 

W. W. Wood, Principal of S. 
E. Gram. School, Philad'a. 

D. R. Ashton, Principal of 
Young Ladies' Institute, Phila. 

D. Kirkwood, Principal of 
Lancaster High School. 



(1) 



RECOMMENDATIONS OF THE PICTORIAL HISTORIES 
OF THE UNITED STATES AND FRANCE. 

It is confidently believed that no books of the kind have ever been 
offered to the Public, better adapted to Youth, or indeed even to general 
readers than the present Series. The following recommendations of 
competent Judges, Teachers, and others, it is hoped will be duly ap- 
preciated by the Public. 

Wilmington, Sept. 3rd, 1844. 

I have read about two-thirds of "A pictorial history of the United States, 
with notices of other portions of America, by S. G. Goodrich, author oi 
Peter Parley's Tales." 

I commenced reading the book for the purpose of examining the manner 
of the execution ; I have proceeded because of the interest I have felt in the 
history. It is not a dry compend, as I expected ; but it is history instructive 
though condensed, communicating in small, but well filled space, all the im- 
portant events in their proper connexion, requisite to correct, historical know- 
ledge. It can be recommended to any citizen of our nation, as a book well 
worthy of his perusal. 

As a school book, its proper place is among the first. The language is 
remarkable for simplicity, perspicuity and neatness. We could not wish 
youth trained to a better taste for language, than this is adapted to impart. 
The history is so written as to lead to geographical examination, and impress 
by practice, the lesson, to read history with maps. 

As a reading book, apart from its use for studying history, it is one of the 
best that can be used. The reading lessons in common use, make very little 
impression on the mind. A child learning to read by this book, would ac- 
quire a treasure of historical knowledge, of which no citizen should be des- 
titute, and would have desire awakened and taste formed to learn more fully 
men and events with their characters, causes and consequences, while no 
better lessons could be selected to teach the art of reading. Indeed it is im- 
portant to teach reading, that the lessons should be interesting: hence too 
much resort has been had to fiction, greatly injuring the mind. 

This book introduced into our common schools, would probably produce 
another benefit. In some cases it would reach parents, through their children, 
and form in them a desire for knowledge which would be the most efficient 
of all ways to bring them to appreciate the value of Schools and the education 
of their children. 

I should be glad to see this book introduced as a reading book into every 
district School in this State. 

WILLARD HALL, 
Judge of the United States Court, District of Delaware. 

The following resolution was adopted by the Common School Convention 
of the State of Delaware held at New Castle, Sept. 1844. 
Resolved. — That this Convention commend the "Pictorial History of 
the United States," to the notice of Commissioners of common Schools and 
Parents; and they also recommend its introduction into our Schools, as a reading 
book, wherever it is practicable. 

JOSEPH R. HAYES, Secretary. 

WILLARD HALL, President of the Convention. 



(2) 

Philadelphia, Sept. 20th. 1844. 
Gent. — I have perused your admirable work, " The History of the United 
States," with much satisfaction. In my opinion it is a work of great merit, 
which deserves to be extensively circulated. 

The Author has, by a judicious selection of interesting incidents, rendered 
a study which is too often considered irksome to the student, entenaining 
and instructive, and capable of impressing on the minds of American Youth, 
a correct outline of the History of their Native Land. 

The celebrity of Peter Parley's works is a sufficient guarantee, for its 
being welcomed as an important addition to the means of elemenary 
education. Very Respectfully, 

W. H. PILE. 
Principal of N. E. Grammar School. 

Wilmington, August, 13th, 1S44. 
Messrs. Sorln & Ball. 

I have been much gratified in examining " A Pictorial history of the 
United States," by S. G. Goodrich, recently published by yourselves. A 
love of country cannot be better promoted than by a study of our National 
History : and from its popular adaptation I conceive this work well calculated 
to promote such study. The strong points are given, and in a style render- 
ing the study alike pleasant and profitable. It will make an excellent school 
book. Every pupil should study it ; all should read it ; and none can own 
it without finding it very convenient as a book of reference. 

J. KEN NAD AY. 

Philadelphia, Sept. 9th, IS44. 
Messrs. Sorin & Ball. 

Gent. — I have thoroughly examined your " Pictorial histories of the 
United States, and of France," by S. Griswold Goodrich, and have been de- 
lighted by the ease of style, simplicity of manner, and perspicuity of diction. 

History is by some considered a dry study, and indeed our school histories 
are most commonly of that class, and that from the fact, that they are too 
verbose ; but the author of these histories, has hit that happy simplicity, and 
avoided that length of detail which is so tiresome. 

One peculiarity I will not pass by in silence, and that is, the beautiful vein 
of moral reflection, found at the close of each chapter, which naturally 
guides the pupil, to a proper estimate of the detailed transaction : this I 
think to be a recommendation of superior order, for it necessarily leads the 
pupil to think. 

The style of the Book as regards mechanical execution, is superior, and 
I hope the effort to impart good instruction in a pleasant way, will be well 
rewarded by a discerning public. 

Yours truly, and sincerely, 

W. G. E. AGNEW, 
Principal of Zane Street Public School. 

Dickinson College, July, 21st, 1844. 
Messrs. Sorin & Ball. 

Gentlemen, — I am delighted with the "Pictorial History of France, and 
and also the Pictorial History of the United States," by Peter Parley, (S. G. 
Goodrich of Boston.) They are books admirably calculated for the Common 
Schools of our Country, and deserve to be generally adopted. I hope the 
other three volumes of the Series, (England, Greece, and Rome,) will 
soon fellow. 

Yours Respectfully, 

J. P. DURBIN. 



(3) 

Philadelphia, 1844. 
A "Pictorial History of the United States," with Notices of other parts of 
America." By S. G. Goodrich, author of Peter Parley's Tales. For the 
use of Schools. This is, perhaps, the best book of its kind which has issued 
from the press, for the purpose intended. The history is necessarily greatly 
condensed, but the incidents are clearly stated, and in a perspicuous style. 
There are a great many cuts, illustrative of historical facts, or descriptive of 
places rendered memorable by important events. But the celebrity of Peter 
Parley renders our commendation superfluous. This is the first edition of 
the work. A Pictorial History of France, by the same author, has been 
also recently published by Sorin and Ball, for the use of Schools. — Zion's 
Herald and Wesley an Journal. 

Belle- Vue Seminary, August, 17th, 1844. 
I have carefully examined the "Pictorial History of the United States,'' 
edited by S. G. Goodrich, and do not hesitate to say, that I regard it as su- 
perior to any similar work that I am acquainted with, and as much better 
adapted to public or private instruction. I design to introduce it as a text 
book in this Seminary. 

WILLIAM H. GILDER. 

Butler House, Chesnut Street, September, 2ith, 1844. 
Messrs. Sorin & Ball. 

Gent. — I know of no works of their kind more worthy of commendation 
than Goodrich's Histories. In style, arrangement, and general fitness 
for its purpose, I think the "Pictorial History of the United States," the 
best book on the subject used in the schools. 

Yours Respectfully, 
RUFUS W. GRISWOLD. 

Philadelphia, July, 22nd, 1844. 

I have examined with much interest "The Pictorial History of the United 
States, with notices of other portions of America, by S. G. Goodrich." 

The author of this work has, in my opinion, admirably succeeded in pro- 
ducing such a work as he aimed at — a full, accurate and attractive history of 
the Western continent. Though intended particularly for youth, it may be 
read with profit and pleasure by all, and cannot fail to inspire all with senti- 
ments of patriotism and a love of virtue. 

The work is illustrated by maps, plans of battles, portraits, and engravings 
of scenes and incidents, equally creditable to the artist and profitable to the 
student. 

The style and arrangement are such as to render the facts and sentiments 
most easy to be committed to memory. 

JOSEPH P. ENGLES. 
Principal of the Classical Institute. 



('*) 



RECOMMENDATIONS TO THE "PICTORIAL HISTORY 
OF FRANCE." 

Philadelphia, April, 1st, 1844. 

The reputation of the industrious and successful author of the " Pictorial 
History of France," is so well established, that it needs no other commen- 
dation to the public, than his popular name. In preparing books of this 
eclectic character, the principal labor consists in the selecting of matter, and 
demands the exercise of a sound judgment, directed by a correct, discrimi- 
nating taste, as the materials from which such histories are compiled, are 
exceedingly copious. From an examination of the plan, arrangement ot 
parts &c, of this work, I think that it has been executed with great discre- 
tion. It is entertaining and instructive, as well as attractive to the eye, and 
is well adapted to the object for which it was prepared. 

I cannot doubt that the attentive reading of such a syllabus as is here fur- 
nished, must excite an appetite, and prepare the mind for entering upon a 
larger and more extended history of the European Nations. 

I know of nothing of the kind, better suited to the use of Schools, for 
which it is "particularly designed," and can cordially recommend it to the 
favorable regard of their supervisors and teachers. 

S. JONES. 
Principal of Classical and Mathematical Institute, 
No. 17, South Seventh Street. 

Philadelphia, December, 3rd, 1842. 
Messrs. Sorin & Ball. 

Gent, — Having examined with care, the " Pictorial History of France," 
which you submitted to my inspection, I am prepared to commend it to the 
favorable notice to the public. 

The want of a good history of France, suitable for a Class Book, has been 
long felt, and this work seems to fill the vacuum. 

I cannot better express my estimation thereof than by informing you that 
we have adopted it. 

Yours, very Respectfully, 

GILBERT COMBS. 
Principal of the Spring Garden Institute, for Young Ladies. 

Philadelphia, March, 30th, 1844. 
Messrs. Sorin & Ball. 

Gent, — It affords me pleasure to recommend the "Pictorial History 
of France," lately published by you, to the favorable attention of teachers 
and parents, as a work, eminently calculated, by the simplicity of its style, 
the variety and interest of its facts, and the beauty and appropriateness of its 
pictorial illustrations, to afford at once pleasure and profit, not only to youth, 
for whom it is specially designed, but to readers of every class. 

I am pleased to learn that you contemplate the publication of a History of 
England, of the same attractive character. 

Such works are a valuable acquisition to the cause of public and private 
education, and cannot fail to be duly appreciated by those for whose benefit, 
they are intended. 

JOSEPH P. ENGLES. 
Principal of the Classical Institute. 



(5) 

Philadelphia, 1844. 
Messrs. Sorin & Ball. 

Gent. — A " Pictorial History of France," for Schools, by S. G. Goodrich, 
author of Peter Parley's Tales. This volume seems well fitted to convey 
to young readers a brief sketch of French History — being well arranged, the 
prominent points clearly set forth and each chapter furnished with questions 
adapted to direct the attention to the principal events and to fix them in the 
memory. The book seems calculated to be of essential service in the early 
study of history. The Publishers propose to publish similar histories of the 
United States, of England, Rome, and Greece. 

From the New York TRIBUNE. 

Philadelphia, November, 10th, 1842. 
Gent. — I have examined with much satisfaction the "Pictorial History of 
France," by S. G. Goodrich, on the basis of Markham's History of France, 
and consider it well adapted to use in our Schools. 

Yours Respectfully, 

A. D. BACHE. 

Messrs Sorin & Ball. 

Gent. — I have given a partial examination to the "Pictorial History of 
France," lately published by you ; and from what I have seen of the work, 
I should think it sustains the reputation which its well known author has 
acquired as an interesting writer for the young. A comprehensive know- 
ledge of the history of France is next in importance to a similar knowledge 
of our own history and that of England. And I think the author of this 
work has taken a judicious medium between the voluminous detail and the 
scanty abridgement. 

Yours, &c, R. W. GREEN. 

Philadelphia, May, 10th, 1843. 
Messrs. Sorin & Ball. 

Gent. — I have looked over partially the "History of France," by S. G. 
Goodrich, which you were kind enough to send me. From the slight ex- 
amination I have been able to give it, it appears to me to possess most of the 
qualities which have rendered the author's other works so popular, and to be 
well adapted to the purposes of juvenile instruction. 

Respectfully Yours, 

E. C. WINES. 

Philadelphia, September, 19th, 1844. 
Messrs. Sorin & Ball. 

Gent. — The "Pictorial History of France," recently published by you; 
appears to me to be an excellent work, and well calculated for general use. 
The simplicity and clearness of its style, the variety of its incidents, and the 
number of its illustrations will tend to make it both interesting and useful. 

Your obedient Servant, 

A. B. HUTTON. 
Deaf and Dumb Institution . 

Philadelphia, September, 1842. 
Messrs. Sorin & Ball. 

Gent. — Having examined your edition of S. G. Goodrich's "Pictorial 
History of France," I am gratified at being able to speak of it in terms of 
warm commendation. Written with all the clearness, method, and tact of 
Goodrich, the work is curiously illustrated by pictorial representations of 



(6) 

of almost every great man or important event of French story. The num- 
ber, variety, and appositeness of these illustrations, add greatly to the 
usefulness of the book, which while it does not neglect any other mode of 
impression, abounds in appeals to the great avenue to the memory, the eye. 
Wishing you much success in your useful enterprise. 

I am, very Respectfully, Yours, 

J. K. MITCHELL. 

From the Philadelphia, Saturday Courier, of September, Vlth, 1842. 
Is there a reader in the United States who has not read some of the pro- 
ductions of Peter Parley ? If there is, he should immediately buy and read 
them all. Few men of any age have done so much real good towards faci- 
litating the easy acquirement of useful knowledge, as our much esteemed 
friend, Mr. S. G. Goodrich. He has now brought out an embellished His- 
tory of France, and we will tell our young friends that they will find it a 
condensed and valuable one. The history of France is a very absorbing 
one. — For years we have been deeply interested in it — and we are much 
pleased that a natural, eloquent and pure writer, like the renowned author 
of Peter Parley, has taken it upon himself to present to the Youth of our 
land a "Pictorial History," of a country with which all Americans should 
be well acquainted. It is a single 12mo. volume, of 347 pages. 

From the Philadelphia, Saturday Evening Post, September 17th, 1842. 
The "Pictorial history of France," by S. G. Goodrich, author of 'Teter 
Parley's Tales," one volume 12mo. Philadelphia, Messrs. Sorin and Ball. — 
The great and well deserved popularity of all Mr. Goodrich's former works, 
will secure for this history of France a favorable reception. It is designed 
principally for schools, and is written in the author's peculiarly simple and 
perspicuous style. The very large number of wood engravings with which 
it is embellished are admirably executed, and will add much to its interest 
and value, especially to the juvenile reader. We commend it heartily, as 
well to the general reader, as to parents and teachers. 

From the Pennsylvania Inquirer and National Gazette, September, I0th,l842. 
The "Pictorial History of France." An excellent volume with this title 
has just been published by Messrs. Sorin and Ball, of this city. It is from 
the pen of S. G. Goodrich, the author of " Peter Parley's Tales-," and 
seems to us from the hasty examination we have been able to give it, one of 
the very best works for Schools that has been issued for a long time. While 
the facts are strictly historical, they are connected together in a manner at 
once captivating, agreeable, and especially suited for the youthful mind. 



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